Precious Stone (feat Mick Turner)

I, Kafka Tamura (Jag, Kafka Tamura) is the third movement of four in From the Bottom of a Well (Från botten av en brunn) based on Haruki Murakami's novel Kafka on the Shore. The the sounds were designed from, and the music was written from a grounded theory analysis of the book. The piece was performed and recorded on the 16th of December 2021 by Robert Ek, clarinet; Kevin Kirs Verstege, cello; and Rikard Vilhelm Lindell, eurorack at the Royal College of Music in Stockholm. Photography by Hannes Häfele.

Robert Ek's portfolio: www.remusik.se/
Hannes Häfele's portfolio: luminea.eu/

Video recording from the concert is available here: https://vimeo.com/716684574

Jag, Kafka Tamura / I, Kafka Tamura

in 2009 I moved into The Rat Palace, a studio in Hobart. Its been the epicentre of so many projects and I have shared the space with some amazing artists of all disciplines. I have hard drives full of jams from this time and will share a few over the next little while as a way of saying farewell to the space. This one is from August this year when myself ( Bass) and old band mates from an outfit called Hexfarm Dane Renshaw (Drums) and Phil Bywater ( Tenor Sax) found ourselves all in the same country for the first time in many years. So we dusted off some musical cobwebs one evening. The photo is of the last Ute load leaving the studio, Intonarumori strapped on the back - not quite sure where the next studio is yet !

Rat Palace Jams - Hexfarm 2022 #1

Aporia is 
Dani Kirby: keys/voice
Bruce Musser: guitar/keys
Dane Renshaw: percussion
Mat Ward: bass/electronics
we may or not make more music : ) voice/keys/bass recorded live at Rat Palace, Hobart. Guitar/keys/percussion recorded  Japan/USA.

Aporia #1

Bing/Santospirito composed the music to A Mouthful of 'C' Words which was performed at Mona Foma 2023 at the Peacock Theatre in nipaluna. 

Violin and percussion ~ Natalya Bing
Piano ~ Joshua Santospirito
Recorded and mixed ~ Jethro Pickett at Glaziers Bay, melukerdee country, lutruwita

Starring Fengyi Liu & Jem Nicholas, the play was directed by Chris Mead and written by five Tasmanian authors. 

​Carrie McLean - Writer
Stephanie Jack - Writer
Hera Fox - Writer
Andy Vagg - Writer
Matthew Cooke - Writer
Chris Mead - Director and Dramaturg
Fengyi Liu - Actor
Jem Nicholas - Actor
Natalya Bing - Composer
Joshua Santospirito - Composer
Jason James - Lighting Design
Producer - Lucien Simon
Produced and commissioned by Salamanca Arts Centre.
Presented in association with Mona Foma.
Supported by Restart Investment to Sustain and Expand (RISE) fund – an Australian Government initiative.

A Mouthful of 'C' Words ~ Scene 7

Crosendos

Cresendos

A pioneer of digital musical landscapes in Tasmania's experimental and club music scene, Jon Smeathers, presents another boundary-less solo set as part of Reptrillion culture club's deconstructed format. Leaked from a bootleg desk recording, the mix is propelled by an efxs driven fluidty of hyper melodic forms and urgent stutters that collapses the voice of Ariana Grande with overly-compressed footwork and hard drum into euphoric harmonic currents. A pure document of one of the many extreme substrates of Rcc's unique club music language. ✨

cdjs - Jon Smeathers
Recorded May 2023

Not Alone - Fred again.. & Swedish House Mafia
FIRE GUT - E+E
Rihanna X William Basinki II
Fates ft. Harukasuka - henryisdead
Wax - CupoCupo
Come Up - Senior, Lil Baby 
Dualities - B-Ju, Ticklish
Shame (Slikback Remix) - Tzusing 
godisawomanfinal2 
MAD - Mat Zo
TESLADIN - Sombra
all the th1ngs she said (Patreon Exclusive)
Waitiin (whiterose Riddim) - Kelela
Lonely (Justin Bieber x Yamaneko bdstf blend - bdstf
Little White Nightgown (TRANS PRIDE WAR DUB)
cantbreathe - diana starshine 
Clarity - bdstf
빈칸 Kind - Shinee

#Reptrillioncultureclub  #Hobart #dancemusic #angels

RCC LIVE @ H🔥O🔥U🔥S🔥E  .  S🔥H🔥O🔥W --- May23'

An eerie and desolate journey into an alien landscape, "Crater Mapping.." is R.J. Stefanski's first mix dedicated specifically to the darker realms of ambient music. Through careful track selection, avant-garde mixing techniques, and a wealth of spacey sound effects, the mood is heavy, dense, and consistently evolving. No fewer than 53 separate artists are sampled and included in just over 61 minutes, resulting in a rich tapestry where at any moment 2-3 different tracks may be blended into one monolithic drone. 

The inspiration and conceptual framework for "Crater Mapping" is a sonic representation of the process of examining the surface of an exoplanet (a planet circling a star that is not our Sun, nearest ones suspected at 5-10 light-years away). Whereas most space soundtracks have followed the 2001: A Space Odyssey model of pairing classical music with graceful images of shuttles flying through space, this project focuses on the actual dirty work of wandering around dark craters, collecting data & samples, and drawing maps. 

Beneath the primary layer of dark ambient tracks sits a pool of sound sourced from Stefanski's collection of original field recordings as well as clips from NASA's trove of electromagnetic vibration "sound" captured in space (there is a link at the bottom of this that explains how this was done). To add to the otherworldly atmosphere, any original recordings from Earth have all been dipped into a vat of liquid metal to distort their origins. Some dialogue ripped from youtube of I.S.S. communications was also added, each layer of sound carefully molded into the project over roughly 12 rough/final drafts. Use good headphones and enjoy.

Lustmord - "Heresy V" / Chris Watson - "Low Pressure, Scotland" / Deathprod - "Disc" / Raison d'Etre - "The Slow Ascent" / Boards of Canada - "Ataranchronon" / Donato Dozzy "Vaporware 2" / Zenker Brothers "Erbquake" / GY!BE "Antennas to Heaven" / Animal Collective "I See You Pan" / Eluvium "Envenom Mettle" / Jefre Cantu Ledesma - "River Like Spine" / Tim Hecker - "Studio Suicide" / Demdike Stare "Matilda's Dream" / Neel - "Life on Laputa Regio" / Burial - "Forgive" / Helm - "Sky Wax (London)" / Hands - "Beelitz pt7" / Raison D'Etre "The Slow Ascent" / Aphex Twin "Tree" / Max Richter "Infra 3" / R.J. Stefanski - "Surrounded By Shores" / Stars of the Lid - "Fucked Up (3:57 AM)" / Brian Eno - "The Secret Place" / The Field - "Cupid's Head (GAS Ambient Mix)" / Deepchord - "Ocean of Emptiness" / The Sight Below - "It All Falls Apart" / The House in the Woods - "Hulking..." / Bvdub & Loscil - "Hespiredes" / The Haxan Cloak - "Mara" / GY!BE - "Antennas..." / Ursprung - "Am Buachaille" / Blamstrain - "Night Became" / Philip Jeck - "Wholesome" / Pauline Oliveros "Nike" / Claro Intelecto - "Quiet Life" / Loscil - "Steam" / The Sight Below - " / Vladislav Delay - "Viisari" / Infinite Body - "Gardens Grew Backwards" / OPN - "Melancholy Descriptions..." / Boards of Canada - "Opening the Mouth" / Christopher Bissonette - "A touch of heartbreak" / Fennesz - "Year in a Minute" / Blanck Mass - "Dead Format (Dalhous Remix)" / The Seven Fields of Aphelion - "Cloud Forest..." / Atrium Carceri - "A Path Through Remembrance" / Taylor Deupree - "Temper" / The Mars Volta - "Cicatriz" / White Rainbow - "Sundune Sandset..." / Main - "Kaon pt II" / Oval - "Store Check" / Alva Noto - "Xerrox 2nd" / Richard Skelton - "River Song" / Gavin Byars - "Titanic... Interlude" / Robert Rich - "Ceremony" / Pink Floyd - "Saucerful of Secrets" / Chris Watson - "River Mara at Night" / Marcell Dettman - "Stranger" 

http://canyouactually.com/nasa-actually-recorded-sound-in-space-and-its-absolutely-chilling/
All space recording by NASA, all others by R.J. Stefanski.
NASA Soundcloud: https://soundcloud.com/nasa

Crater Mapping: Atlas of an Exoplanet Terrain [Dark Ambient & Field Recording Mix w/ 50+ Artists]

“Sophisticated solo improvisations from one of the most varied and accomplished artists of Australia’s younger generations.” (Loudmouth)

4 stars “a purist and concentrated debut” (Westzeit)

“A miraculous discovery of a new world” (Freistil Magazin)

“Minimalism with maximal nuance” (David Chesworth)

“(Endean) fits perfectly into the sofa-Kosmos … Endean is a radically idiosyncratic sound art wind instrumentalist who presents an introspective, far from superficial sound on her solo debut” (Nordische Musik)

“…the music remains very accessible and sometimes trance-inducing.” (Vital Weekly)

“There’s an almost autohypnotic quality to much of the album, the result of Endean’s proclivity for creating variations on motifs made up of a minimal collection of pitches which she orders, expands, condenses or distorts—all the while still somehow retaining their essential profiles” (Avant Music News)

“Aviva Endean’s first solo release but it doesn’t appear short of confidence. Lengthy, indulgent and captivating experimental performances, making the most out of the clarinet’s distinctive deep tonal qualities, culminating in long rolls, and languid melodic elements…. it’s barely anything short of stunning.” (ChainDLK)

Aviva Endean is a clarinet player, improviser, composer and performance-maker. Her work with sound spans a wide variety of performance contexts including experimental and improvised music, creating immersive sonic environments, new chamber music, band projects, and cross-disciplinary collaborations. 
cinder : ember : ashes, released by Norwegian label SOFA in 2018, is Aviva’s first solo release and marks a move towards a more introspective sound. A collection of both composed and improvised recordings, the album offers a selection of liminal, ethereal and elusive resonances. Distinct and refined instrumentations set up a framework of unique sonic environments, which then become a landscape for Aviva’s slowly evolving and contemplative improvisations. 
Several tracks explore a veiling of the clarinet, placing another sonic force alongside the instrument which then works together with the clarinet in a symbiotic relationship. In ‘apparition : above’ Aviva uses the skin of the timpani as a resonant chamber which alters, distorts and beats against the tone of the clarinet and amplifies its resonant frequencies into a swirling and glissing halo of sound. ‘vapour : between’ transfigures the tone of the clarinet through a miniature pocket-sized amplifier, the sound of the clarinet distorted and fragmented in a playful and rhythmic trance-like meditation. The umtshingo (harmonic flute) reveals itself in ‘undulations : behind’ through a multitude of subtle effects and feedback, through which the listener may eventually distinguish the beautiful simplicity of this instrument. 
In part, this album took inspiration from the musicologist Andrew Killicks’ concept of ‘holicipation’—a term he coined to describe solo musical practices that are not rehearsals, not practicing for something, but are playing for oneself. The playing is ‘holistic’ in the sense that it constitutes audience, composer and performer, and has no investment in a musical future, but instead finds nourishment in the present. Aviva’s introduction to this term (while in residence at the OMI International Arts Centre in upstate New York) from the musicologist Cara Stacey (who also introduced Aviva to the umtshingo, featured on the album) inspired a refocusing of Aviva’s practice in a more introspective, meditative approach to solo playing, in parallel to her heavily collaborative artistic practices. As it happened, some of these solo explorations eventually developed into pieces that she chose to share with the world, but the process of ‘holicipation’ none the less constituted a vital part of this music’s formation.

07 Ashes For Viv (before)

An improv duo, combining classical with artmusic to create intense and mesmerising live performances, ambient music and soundtracks. Natalya Bing (violin / percussion / piano) & Joshua Santospirito (guitar / percussion / synth & piano)

A Mouthful of 'C' Words ~ Scene 7

Bing/Santospirito

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