new tune in 2021

recorded and mixed by yoshio ojima , 2021

oratio (2021)

Taken from "Marking A Boundary With The Turning Point"

Pre orders start 31.5.2024 / Release date: 7.6.2024 

All tracks played, recorded, mixed, edited and mastered by Ard Janssen & Radboud Mens 

Artwork by Aldje van Meer and Radboud Mens / Design by Ard Janssen 

https://shimmeringmoodsrecords.bandcamp.com

SHM 302
Shimmering Moods Records

This album explores the interplay between horizontal and vertical musical elements, where subtle acoustic events challenge perceived stillness. In the realm of drone music, these nuanced occurrences shape its immersive nature, injecting unpredictability into sustained tones. They blur the distinction between stasis and movement, fostering diverse listening experiences. Ultimately, these tiny acoustic events enrich the sonic landscape, challenging conventional musical narratives.
 
Creating electronic music blends sound design and composition. For this album, we've incorporated sounds from our experimental installations, emphasizing exploration over virtuosity. This process of crafting instruments and sounds enriches our music, capturing the essence of sonic exploration.

Ard Bit & Radboud Mens - Projection

Taken from "Beneath The Sea​/​Time Flowed Past Indifferently Above Us", the forthcoming album by Knivtid

https://shimmeringmoodsrecords.bandcamp.com

Knivtid - Undergrowth Rest

*limited vinyl and cassette editions via leavingrecords.com -
https://leavingrecords.com/plant-music-vol-3-the-golden-teachers
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Experience the high strangeness of plant music—plants that “sing.” For years musician Nico Georis has used biofeedback instruments to connect a variety of flora to analog synthesizers, letting their biodata create music that is strange and existentially gorgeous.

Nico’s work in plant music happened during a six year span, and was set in motion by a simple desire to find a fresh supply of long-form ambient music for relaxing to at home. After a chance encounter with an obscure technology dating back to the 70’s allowing plant electricity to be converted to MIDI data, Nico began experimenting with using his house plants to generate endlessly evolving ambient music. “I was looking for music that I couldn’t find, and I realized the plants & I could make it.”

Here was an opportunity for another type of ambient music, one not born of the human brain, to emerge. A music that moves beyond human thought forms all together, and leans deeply into the green. Culled from hundreds of plant songs recorded between 2016 - 2022 both at home and in the wild Plant Music Vol. 1 and 2 represent the “greatest hits” of Nico’s plant music years.

Plant music Vol. 3 marks the newest installation, showcasing music generated from psilocybin mushrooms, known by many as “Golden Teachers”.

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"This music is created via an artistic translation of electrical biodata into musical data. Two mushrooms and the mycelium connecting them are hooked-up to sensors, and their fluctuating electrical conductivity is translated into an equivalent flow of music notes (MIDI). These notes are then filtered into musical scales and routed into synthesizers that generate tones.

These recordings have been arranged into a variety of solos, duets and trios. They reflect what we feel are the most fascinating and beautiful examples of psilocybin mushroom music, straight from the tub."

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Nico Georis is a keyboard player, producer & songwriter from California. He produces music from his studio at Granny's Dancehall in a ghost town amidst the wilderness. His music, a unique amalgamation of global influences, presents an imposing total aesthetic that is all his own.

Made with the help of Bob Otis and Lovelle Femme.
Special thanks to Matt Baldwin who helped conceive and organize this recording while also co-editing a few songs.
Cover photo by Matt Baldwin and Gabe Georis.
Artwork and layout by Victoria Stöcker.
Mastered by Will Smith.

Breathing Hills

Simply a minimal, floating tune, subtle sonic wallpaper. "Repetition is a form of change." ... an oblique strategy ... stoney.sb.org/eno/oblique.html

Inspired by minimal drone music in general, the subtleties of an oscillator, filter, reverb, or any sound source.

Generations was used a lot when making this, check it out here:

https://innesti.bandcamp.com/merch/generations-diy-kit

Thanks for listening...

Minimalis Fabrica

Floating in Generative

https://cryxuss.bandcamp.com/album/every-leaf-a-possibility

every leaf a possibility

Blue Hole

Swan

Artist: Masayoshi Fujita & Jan Jelinek
Album Title: Schaum
Format: 12" LP/CD/DL
Label#: Faitiche13/Faitiche13cd 
Release Date: September 9th 2016

Masayoshi Fujita & Jan Jelinek: Schaum

Faitiche is very pleased to announce the release of a new album by Masayoshi Fujita & Jan Jelinek (faitiche13). Since their debut (Bird, Lake, Objects, faitiche03, 2010) they have played improvised concerts around the world. Japanese vibraphonist Masayoshi Fujita prepares his instrument with various percussion elements as well as metal objects and toys, while Jan Jelinek layers loops made using small-scale electronic devices. Schaum (German for froth, foam) is the duo’s second album.
The river, forcing its way through veins between the outposts of the forest, was a great heart. Placidly as it flowed, gently as its descent beat against its vague banks, it brought and gathered sustenance for the busily mediating humus that swelled sunwards in the strangest cell configurations, trees, plants, animals. The silence all round was uncanny and stuck on the ear. Spasmodic squelches, a gurgling in the muddy hollows of the bank beneath overhanging shagginess, the slurping of ominous cavities, that shot out now and again between the long-spun threads of time, like something detonating, testified to the steady monotony of the process. From the forest itself came a crackling rhythm. There the mighty Pan could still be heard to rumble.
from the novel Tropics by Robert Müller (translated by N. Grindell)

Dear Masayoshi Fujita,
Many thanks for the audio files. Your additional vibraphone recordings go wonderfully with the material we have already. Preparing the vibraphone with more percussion instruments was the right decision. Combined with my tightly woven synthesizer and sample loops, the result is a fragmented sense of space. I have taken the liberty of manipulating certain recordings. One might now say that our joint recordings are both a basis for further processing and new pieces in their own right.
While listening through our improvisations, I noticed a tendency towards atmospheric sounds. I am almost tempted to call them tropical. This has strengthened my resolve to work with dense background textures – among others, I’m using material produced in connection with my radio pieces Kennen Sie Otahiti? (Do you know Otahiti? SWR2, 2012) and Dialoge zur Anthropologie (Dialogs on Anthropology, SWR2, 2013): artificial field recordings, jungle and rain forest settings that do not hide their staged, fictional character. They are synthetic and speculative. As you know, I have long been obsessed with the tropics. This obsession involves a mental image of a specific quality of landscape: deliriously extravagant unstructuredness, hostile to life but also excessively productive. I am fascinated by the idea of installing clear minimalist forms amid such luxuriant tropical growth. Perhaps my image of the city of Brasilia is a good example: the utopia of elegant and ascetic modernism, surrounded by rampant vegetation. Lianas and concrete: that’s exactly how our music should be!
Corresponding to this, I would like to expand our liner notes to include a quotation from Robert Müller’s novel Tropics – an expressionist travelogue published in Germany in 1915. It goes without saying that this work cannot be wholeheartedly embraced: its imperialistic fantasies of omnipotence and its “master race” posturing, characteristic of that time and place, are, of course, intolerable. Please excuse my casually dismissing this, but it is not what I am interested in here. Tropics is fascinating as a nervous jungle phantasm that openly indulges in exoticism at the same time as deconstructing it. In this way, the main character’s adventure becomes a journey into the subjective. It resembles a feverish inner delirium, exposing exoticism as a simulated, utopian perspective. What it boils down to is insubstantial, nothing but foam and froth.
With best regards, Jan Jelinek, Berlin 2016

Masayoshi Fujita & Jan Jelinek: Vague, yet

Taken from the album 'taking into account only a portion of your emotions' released as CD and Download

Warble

Bing & Ruth

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