Arnau Sala Saez - Si no sóc a l'ara, a on sóc

A sunken cathedral is exactingly excavated by Tokyo-based Joe Fujinoki on his debut album "Watering The Steel Flowers". Glittering shards of glass and metal drifting on deep ocean currents cast vague illuminations upon eroding concrete structures. An occasional glimpse of sunlight filters through the depths, suspended by bubbling hydrothermal vents. Fujinoki creates a series of gestures blurring texture and rhythm, an analog balm for the colloid of post-industrial aches.

Joe Fujinoki is a Tokyo-based musician and synthesist.

WATERING THE STEEL FLOWERS

PURCHASE PHYSICAL COPY

ENXPL11 - JOE FUJINOKI - A5. LESS LIGHT

from Martina Bertoni's forthcoming album "Hypnagogia", out on 20th january 2023 as LP / tape / DL

Hypnagogia

MARTINA BERTONI - Inversion

Night Foundation - Editing A Memory

Martin Rev - The Sum Of Our Wounds (Cassette Recordings 1973 - 85)[album preview]

core is a feedback loop of the fsh-1 frequency shifter, inside the loop is c0 and mmf-1. modulated by r*s dsg. rhythm and pads itb.

something like a patch diagram: https://imgur.com/6oNm0yH

one output of the fsh-1 goes into the c0 delay (the delay is crucial in this patch, most of the sound gets produced here), the output of the delay goes into a limiter and then back in one input of the fsh-1.
another ouput of the fsh-1 goes into the mmf-1 filter in dual bandpass mode, from there the signal goes again into a limiter and into the second input of the fsh-1.
this is now the basic closed feedback loop, i listen to the mix output of the fsh-1.
by playing around with all the settings i get different tones, again, the delay is crucial here, how much feedback is determined by the limiter and general volume controls or frequency controls of all three modules... now to get a rhythmic patterns going i plugged this "bouncing ball" envelope into the second input of the filter, that is enough to only get feedback at the high portions of the envelope eg i get a rhythmic feedback pattern. variations in tone by manual control of the bandpass settings and the delay time plus occasional tweaks at the limiter section for louder or more distorted feedback. the patch is delicate, i tried to replicate it and i wasnt able to come close to these tones, but other great ones:) enjoy modular synthesis!

fsh1

Taken from the album 'Microphone Permission' released as LP and digital.

Microphone Permission

Jasmine Guffond 'Forever Listening' (EMEGO 273)

Two totally infectious sets from Decoy - the trio of John Edwards, Steve Noble and Alexander Hawkins - reunited with pocket trumpet and saxophone player Joe McPhee on the closing night of his four day residency at Cafe OTO.

In the eight years between the recordings which make up ‘AC/DC’ and their last release ‘Spontaneous Combustion’, Decoy and each of its members have been practicing individually at the very top of their form. Coming together again in such celebratory circumstances and in the good company of a fantastic crowd set the scene for a very special night. 

As they begin, Alexander Hawkins casts a needling surface between his Hammond organ and John Edwards’ loose splatters and slaps of low end bass. McPhee skitters over them with his pocket trumpet by way of introduction; Steve Noble strikes his rims in anticipation. The mood in the room is that of a rock band reformed, of a certain number of “boys” being “back in town”.

The first set sees moments of frenetic free jazz peel off into weirdo soul territory and when switched to saxophone halfway through, McPhee’s romantic lyricism is utterly beautiful. When a groove sets in, Hawkins’ B3 ascension in harmony with an ever powerful Edwards-Noble rhythm section sees the room thicken and swirl to the point of giddiness. There is one unreal part at 22:22 where we’re sure you can hear Edwards’ bass vocalising. 

Regrouped for a second set, Steve Noble’s metallic textures meld with detuned arco bass to create an unholy atmosphere, ripe for Hawkins to play out the eerier end of the Hammond. When McPhee sounds a sax motif the band catches it quickly and it’s soon wickedly morphed and stretched by each player, recurring to absurdity in a stoned out funk free for all. 

The whole recording bleeds enthusiasm and joyful imagination and is a brilliant document of an unforgettable evening. Decoy are a limitless band who play nowhere near enough. We cannot attest to them any more, Book them, buy this, go and see them if you can.  

---

John Edwards / bass

Alexander Hawkins / hammond b3

Joe McPhee / pocket trumpet, alto sax, voice

Steve Noble / drums

---

Recorded live at Cafe OTO by Shaun Crook on Friday 10th May, 2019. Mixed and mastered by James Dunn. Artwork and layout by Oliver Pitt. Printed in an edition of 1000. OTOROKU023CD.

ROKU023 - Decoy with Joe McPhee "AC/DC" [sample]

Walking through the trees as the rain fell, he could hear little but for the tiny pitter patter of raindrops as they touched upon leaves and formed small puddles beneath his feet. It was cold out here in the wild, yet despite being lonely in the middle of nowhere he felt more at home than ever before. Perhaps he was made for the wild places, the wild spaces in the great beyond. He was looking for a mythical creature, a great beast. Blacksiris was his name and they told tall tales of his wicked trips in the murky mountains. 

OL is a producer on whom we have been keeping a close eye. With appearances on the likes of Muscut, FIT Sound and Motion Ward he is well versed in abstract electronics and has a distinctive 'out there' sound which offers as many questions as it does answers. His latest release is for gost zvuk, a label with which he is close.

GIN010

PREMIERE: OL - Blacksiris [ГОСТ ЗВУК]

Each Morning of the World #04
South American Phonographic Mornings #03/20
Puerto Saavedra ~ South Chili
Lafken Kürüf  de Julie Rousse

~~~~~~~~~~~~~

The piece - Lafken Kürüf - has been composed from recordings taken in the south of Chile in 2015. Mixing various sounds of the wind and the ocean, as well as glimpses of voices, those emblematic sounds from my stay there are composed in a short piece transcribing the powerful sonic landscape that has accompany me during the three months spent in the Mapuche Lafkenche community of Traïtraïko Leufu. The noise of the wind on the rooftop of my house and the rumble from the Pacific Ocean close by kept me from sleeping at night as i would imagine it coming out from its bed, like in the Mapuche Lafkenche mythology.

~~~~~~~~~~~~~~

Crédits
de l’album South American PhoNographic Mornings
ce titre est sorti le 6 mai 2018
Credit photo : © Julie Rousse 2018

Lafken Kürüf

LAFKEN KÜRÜF

Mads Emil Nielsen + Katja Gretzinger + Nicola Ratti: Framework 3

arbitrary11, release date: 21 August 2020
https://www.arbitraryproject.com/Framework-3

The Danish label/imprint arbitrary announces the release of Framework 3 (arbitrary11) by Mads Emil Nielsen. Framework 3 is the latest instalment in Nielsen’s sequence of graphic scores and recordings. The series includes the Danish composer’s own subjective translations of visual materials and sound pieces accompanied by visual notations.

On this release he collaborates with Katja Gretzinger and Nicola Ratti. Published as a limited edition art print folder, Framework 3 consists of risographed scores and recordings on 10” vinyl and CD – with recordings by Nielsen, along with graphic scores by Gretzinger and contributions by Ratti.

10” + CD + DL
Vinyl side A: Mads Emil Nielsen: 1, 2
Vinyl side B: Mads Emil Nielsen: 3
CD (Disc 2): Nicola Ratti: 1, 2, 3

@madsemilnielsen @nicola-ratti

Mads Emil Nielsen, Nicola Ratti: Framework 3 - excerpts

As you can imagine we are under huge pressure at the moment and are working flat out to ensure Cafe OTO survives this. The impact of this situation is extremely acute for small venues like ours and we need all the support we can get to pull through. Please donate what you can, if you can. Thank you. 

Cafe OTO opened in April 2008 with the aim of providing a home for creative new music that exists outside of the mainstream. It comprises one large cafe/performance space open during the day serving food and drink with an evening programme of live music almost seven nights a week. 

OTOROKU is part of OTOProjects - a not-for-profit Community Interest Company (CIC) that has been set up to manage the programme at Café Oto. Any profits from OTOROKU are put back into supporting what we do and will help us to continue programming the best musicians and performers from all over the world.

www.cafeoto.co.uk

ROKU023 - Decoy with Joe McPhee "AC/DC" [sample]

cafeOTO

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