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<p>Outstanding double LP first ever release of this 1970 masterpiece! available from <a href="http://www.soundohm.com/product/Eliane-RADIGUE-/Opus-17/pid/21010/">soundohm.com</a>. Alga Marghen presents "Opus 17", a major turning-point in the sonic oeuvre of Eliane Radigue. Finished in 1970 it was the last work composed with feedback materials. From that experimental period "Opus 17" preserves the plastic character: a music made of rough sonic phenomena, at once harsh and granular, possessing a quality of materiality and tactility. Its vibrations structure the air surrounding the listener with densities, thicknesses, indeed with palpable movement. Her compositions are frames which let us hear these phenomena, open frameworks from the sonic installations of her Endless Musics and here reinserted in the five scenes making up "Opus 17". In 1970, in her studio of very rudimentary means, she developed a completely unique body of work centered on sounds produced by feedback. "Opus 17" has the quality of showing off the sum of the achieved techniques and methods. Eliane Radigue's music has never been rooted in ideas but in practice, the intimate experience of things in the wild which she has known how to tame. This dialog both intense and poetic which she keeps up with the solid matter of sound finds a remarkable concretization in "Opus 17". It is to be underlined that with "Opus 17" Eliane Radigue inaugurates a technique of composition which will be her footprint, her trademark: imperceptible transformations. For that she has developed a technique of meticulous mixings, based on the slow passage from one section to the next. Imperceptible, all during the piece, we pass, ceaselessly and without noticing the changes, from one frequency flux to another. Time is suspended, smoothed out, stretched. It is this technique which Eliane Radigue will be essentially using for all the electronic works to come and which she will never cease to refine and render always more subtile. "Opus 17" is the great panoramic voyage through material sound, its electronic phenomena detailed as if in a microscope. Could feedback really contain such a universe? "Yes", the work of Eliane Radigue answers, but that exploration was not that easy: one had to learn to listen. It required Eliane Radigue's great demands on listening which led her to the discovery of such treasures. Unknown wealth in a material often rejected as trivial. "Opus 17" was created at the artistic center of Verderonne on May 23, 1970, for the Fęte en blanc (i.e. White Festival) organized by the visual artists Antoni Miralda, Joan Rabascall, Dorothée Selz and Jaume Xifra. Previously unreleased, "Opus 17" is now issued on alga marghen in a first edition of 400 copies in gatefold sleeve.</p>
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ELIANE RADIGUE Number 17 (excerpt)

Kim Hiorthøy - Allt Är Skit

Out now on https://soundcloud.com/left-of-field-records

Download: https://leftoffieldrecords.bandcamp.com/album/flevopark-ep

Download

Lullabye

from 'III' [CD|2xLP|DIGITAL]
Denovali Records · den246
available on all formats at [http://denovali.com/bersarinquartett]

Melancholia. Longing. It is difficult to speak about these moods or states of the mind without invoking stereotypes. In ancient medicine, melancholia was considered to be one of the four temperaments, matching the four humours. In fact, melancholia, meaning "black bile" in Ancient Greek, was thought to be caused by an excess of this very body substance. By contrast, in more modern interpretations, literates and Freudians relate many variations of longing to the one primordial longing, the desire to return to one's mother's womb. In this context, the womb is considered to be the place of absolute comfort and cosiness, of total bliss. Thus it should not be surprising that to many of us melancholia is a mood which we like to invoke and to maintain, we like to envelop ourselves in it like in a warm blanket. Our brain and our sensory systems appear to be made for perceiving and emotionally responding to music in a very immediate fashion. Consequently music is the obvious drug for all of us melancholia-addicts. However, there is a thin line between melancholia and sadness, and music which is meant to be melancholic too often crosses this line by far. Only very few artists succeed in avoiding this crossing, and in creating music which is melancholia in its most pure form. It is safe to say that BERSARIN QUARTETT - the electronic music project of Thomas Bücker - is one of them.

After his successfull selftitled debut in 2008 and the sophomore "II" in 2012 - album of the month in many magazines and in numerous "Best of the year" lists - Bücker returns with his third BERSARIN QUARTETT album "III", due for release 6.11.2015 on Denovali Records. Much like his two predecessors, III is a pure paradox. It is the creation of a perfectionist, an adamant control freak. Every element, be it a note, an ambience layer, a string arrangement, a field recording, a baseline, a vocal (Clara Hill on Track 11) or a beat, is meticulously modified and then assigned its place in Bücker's vast but still minimalistic arrangements. Thus, superficially Bücker's pieces seem to radiate a certain mechanical bleakness. However, there is a unique reduced warmth and liveliness emerging from these stainless compositions and transcending them. This transcendence is precisely the point where Bücker ironically looses control over his creations. In contrast to the first two BERSARIN QUARTETT albums, III offers a few darker shades and succeeds even further in narrowing down the arrangements to the absolute essentials without loosing the characteristic grandeur of Bücker's sound. Whereas BERSARIN QUARTETT's debut was merely a description of melancholia in its most pure form, III maybe even goes as far a defining what melancholia really is. It is the only emotion in the vast spectrum of human states of mind which one can bear forever. 

Bersarin Quartett - Jeder Gedanke umsonst gedacht

Track taken from the upcoming album 'Into The Well' released through Fluid Audio, October 2015...

.....

- Music and arrangements by Dag Rosenqvist and Aaron Martin
- Vocals arranged and performed by Dawn Smithson and Jerker Lund 
- Horns performed by Henrik Munkeby Nørstebø (trombone) and Jenny Olsson (French horn)
- Recorded in Gothenburg, Sweden and Topeka, Kansas
- Mixed by Dag Rosenqvist at The 63rd Link in Gothenburg
- Mastered by Taylor Deupree at 12K Mastering

.....

Aaron Martin:
Cello, bass, roll up piano, voice, vinyl, singing bowls, banjo, lap steel

Dag Rosenqvist:
Piano, pump organ, Fender Rhodes, various organs and synthesizers, acoustic and electric guitars, glockenspiel, voice and field recordings

.....

Mailing List:

http://fluidaudio.bigcartel.com/mailing-list

From The Mouth Of The Sun -  Into The Well

Music from the motion picture by Fabianny Deschamps
Written, performed and produced by Olaf Hund
Recorded and mixed at Total Recall Studios, Paris
Mastering by Jo Gunton at 6dimensions
(p) & (c) Musiques Hybrides 2015
Publishing: All Right Reserved

Procession (Main Theme)

Una Corda

12k is happy to present the debut release on the label from Argentinian composer Federico Durand who has had a series of amazing releases on labels such as Spekk, Own, and Desire Path. Federico and 12k crossed paths on a tour of Japan together in 2014 where the personal friendships among the artists and the label are such a part of what 12k is about. Sharing music and ideas throughout the tour led to an invite to make an album.

It’s no accident that Federico’s music has a dusty air of nostalgia surrounding it. It has always been a very personal affair. Songs inspired family, local life and the world around him are woven by hand with a selection of very physical instruments. He works like a craftsman, piecing together fragments of sound from cassette recorders, small instruments and loopers and creates music that’s as softspoken as he is. No pretenses, no disguises, just the most honest and down-to-earth music that can be made. Broken melodies spinning from tape reels, the sounds of bells and small found objects being played with care... The music is as beautiful as it is introspective, like a small window of antique glass looking right into Federico’s soul.

In his own words:

“A través del espejo in Spanish means “Through the mirror”. I am fascinated with the experience of putting a mirror in front of another: as a miracle, the image turns in a loop that flows into infinity. Loops in the mirror get less clear with each repetition, the color becomes diffuse and greener. When these loops turn into a lullaby we can enter the other side of the mirror: a place of delight and insight.

I always make simple melodies as they are born free. In many pieces, I use cassette recorders as an instrument that play friendly with others such as piano, lyre, toys, bells or effects. I enjoy the possibilities of cutting tape and making loops, reversing, and even using many tape recorders at the same time making air recordings of the sound. The Roland Space Echo or 2880, which are loop-machines themselves, match perfectly with this way of working.

When I see an emboridery I enjoy both the front and back where a mysterious, invisible world suddenly appears. For this reason, I am grateful to the natural sounds made by the machines, the crackle of loops and other sounds that appear while working, as an unexpected gift.

A través del espejo is a dream of beauty, A love of handcrafted music.” 

- Federico Durand

A Través Del Espejo

El jardín encantado (The enchanted garden)

Opening track off the self-titled debut LP by Italian producer Inventing Masks aka Giuseppe Ielasi.

Release date: February 12 (digital/ vinyl)
Photography by Yana Wernicke

Inventing Masks - 3'34''

Taken from the album 'Diminished Composition', released through Scissor Tail Editions...

Review:

www.fluid-radio.co.uk/2016/01/willamette-diminished-composition/

Buy:

www.store.fluid-radio.co.uk/2016/01/willamette-diminished-composition-vinyl/

www.scissortail.bandcamp.com/album/diminished-composition



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