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SARA OSWALD + FELDERMELDER - DRAWN
Cat #: OUS033
Release date: June 18, 2021
Distributed by Kudos: https://kudosdistribution.co.uk
Bandcamp: https://feldermelder.bandcamp.com/album/drawn

«The way we approach recording music — starting from an inner and outer void, where there is just acoustical action and reaction — is an attempt to emulate and slow down the fleeting memories that occur during a near death experience. A scintillating recollection that is the essence of who we are, slowed down and enhanced in order to be captured.» - Sara Oswald + Feldermelder

Prolific cellist Sara Oswald and experimental electronic musician Feldermelder present a captivating experience that resembles the suspended timelessness of an embryonic world. The way in which the duo modulate our perception of time, across this EP of three distinct pieces, represents an impressive display of aesthetic power, enabling listeners to experience the here and now in a total, physical engagement, and to travel through endless, transitional states of mind. «Drawn» is a meditation, where process becomes form. 

The first piece ‘Fishes in Histogram Waterfalls’ opens up a time-space where acoustic elements meet electronics; a fragile and organic encounter that nevertheless remains potent and precise. In this Sara Oswald and Feldermelder form resonant clouds of sound that hover and move discreetly. 	

The second piece ‘Volcanic Meditation Walks’ is more rhythmically defined, punctuated by repetitive accents and imbued with an enchanting, longing melody. Interspersed with heavy, phantasmal electronics, the track evokes a surreal passage across a scorched landscape, like a trek at the foot of Mount Etna.

«Drawn» reflects a dislocation of conventional temporality, and with the final piece ‘Short Term Memories’ the duo offer a denouement, where ‘the naked truth of our existence is revealed’, where every moment is again just another shift, another liminal state. Here they embody the perpetual flow of existence, where birth and death form a circle — where the same form never reappears — where every moment is unique. And where memory has its limits, because neither past nor future really exist.

CREDITS
All tracks written by Sara Oswald and Feldermelder
Produced by Manuel Oberholzer
Mixed and mastered by VFBM 
Cover by Manuel Oberholzer

This is OUS033
www.ous.ooo
@feldermelder

Drawn

Volcanic Meditation Walks

Buy digital

Single from the new album by Zelienople frontman, Matt Christensen called "Constant Green" (June 18th, Miasmah / 300xColoured vinyl). 

As Matt himself describes: " I Had A Vision That I Could Move Anywhere" is  about how much fear does, or doesn't play in our limitations or unwillingness to do things. What is chemistry, genes and fate, and what is choice (if there is any)? In other words, this is a fantasy about free will."

Constant Green

Matt Christensen - I Had A Vision That I Could Move Anywhere

OTOROKU is proud to release one of the most engaging and beguiling Late Junction live sessions we’ve ever heard - the one off first meeting between Korean multi-instrumentalist Park Jiha and writer and performer Roy Claire Potter.

Park Jiha plays the saenghwang, a Korean mouth organ which she blows in long multiphonics to set pace for Potter’s words. Together they unfurl a scene slowly in front of you, rich and focused, shifting your field of vision and drawing you in, elsewhere. It’s impossible not to follow, not to look for where they point. When the piri sounds for a flooded town on the B side, the water flows between your own feet; Potter’s words a sometimes frightening hörspiel in scouse. 

Though the details are fine, the space each artist gives one another and their instruments, their language, is given to the listener in turn. A careful melody picks out a route for words with no fixed meaning, a body with no fixed direction, and we are invited to listen and see a kind of music made visible in its inference. A truly very special record we are very proud to share.

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Influenced by linguistics and performance theory, Roy Claire Potter makes performance, text, drawing, installation and film, and often collaborates with musicians and sound artists to make audio for music festivals and radio. Across the wide range of their practice, Roy tells stories built from fragmented, intense images that depict moving bodies or domestic scenes and architectural settings. Roy’s interest in subtext and narrative sequencing is felt in the way they use fast-paced talking or reading speeds, and restricted or partial views of space. Complicated social or group dynamics and the aftermath of violent events are common themes in Roy’s work and are usually treated with a dark, sometimes wilful humour.

Park Jiha creates exploratory music rooted in traditional Korean instrumental performance. To this session she brings three instruments: a Korean hammered dulcimer called a yanggeum, a saenghwang which is an instrument made of 24 slender bamboo pipes attached to a bowl and played like a harmonica and a double-reed bamboo flute called a piri, which sounds similar to an oboe.

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Park Jiha / yanggeum, saenghwang, piri

Roy Claire Potter / voice

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Recorded and mixed on: 30 January 2020 by Rob Winter, Pete Smith and Andy Rushton at Maida Vale Studios, London for “Late Junction - Roy Claire Potter and Park Jiha in session”. Produced by Rebecca Gaskell, Katie Callin and Alannah Chance at Reduced Listening for BBC Radio 3. Originally broadcast on Friday 28th February 2020, apart from Track 4 which aired on Late Junction the 21st February 2020. 

Mastered by Katie Tavini. Original artwork: “Three Boys” by Claire Cansick. Liner notes by Frances Morgan.

Available as 320k MP3 or 24bit FLAC

 

 

LP version arrives in a gatefold LP. Both CD and LP include a written response to the record by Frances Morgan.

ROKU029 - Park Jiha & Roy Claire Potter "Saenghwang For The Milky Boys"

By now counting more than four decades of constant activity, Pierre Bastien erected such a towering and influential body of work that any blurb attempt regarding his music could easily fall into redundancy. Not that his revolving soundworld, deeply personal and unique, has ever stalled into gimmick or self mimicry, being Bastien the tireless explorer whose vision can never be complete, only continuously redefined in a process of discovery equally playful and challenging. So, completely in touch with Discrepant’s ethos.

Returning to the label after 2017 The Mecanocentric Worlds of Pierre Bastien, the french musician, composer and instrument builder, brings an array of instruments from different cartographies and legacies with the appropriately titled Sonic Folkways. Resorting to different types of horns, prepared trumpet, an army of percussion, from gongs and tambourine to castanets and maracas, violin and too many others to mention here, Bastien weaves together a highly textured and hypnotic mosaic that projects an exotica beamed from scraps of the future. ‘Aha!’ in the same interstellar wavelength as Sun Ra’s cosmic tones, ‘Moor’s Room’s almost orchestral tapestry of small percussion and insects or the non-western strings and tunings salvaged from ancient alien ceremonies on ‘Pan’s Nap’.

In an era where so much ink has been shed about world building in experimental music, Bastien can actually claim that to himself. The otherworld is right here, indeed.

Artwork collage by Evan Crankshaw
Mastered by Anne Taegert @ D&M

More info at https://www.discrepant.net/product/pierre-bastien-sonic-folkways/

Sonic Folkways

Pierre Bastien - Aha! (from Sonic Folkways)

Taken from the compendium coffin closer release from Pat Klassen’s Barn Sour project. A project where the batshit crazy defies the beautiful whilst relishing in unease. Animals appear as phantasms, humans expel intense emotional states. Borderline music and borderline funny this is not for the faint of heart. Soap and Glue collages material from all six Barn Sour releases on a variety of labels, Staighre, Careful Catalog, 72 Fold Mane etc alongside a small sprinkling of exclusive material. The final Barn Sour release is the ultimate Barn Sour release and all you need to engage with one of the most twisted outfits to emerge from the underground in recent years.

Barn Sour - Soap & Glue (excerpt)

Available now via: IMPREC.com

The Well & The Gentle, two of the major works of Pauline Oliveros, are presented here in a first time reissue on double vinyl in a gatefold sleeve with extensive liner notes.

If Oliveros had followed a more conventional composer's path she may have, all social obstacles aside, been considered among the major minimalist and contemporary classical composers of her time. However, Oliveros approached composition in a more egalitarian manner. She wrote music for musicians to interact with or, in the composers words, she wished to create "an inclusive and interdependent and unfolding world of relationships."

Oliveros' propensity towards inclusion is part of what makes this work so remarkably distinctive. The Well & The Gentle is carefully crafted, allowing performers to participate in the creation of the work. Players are asked to collaborate, focus, react and make imaginative choices. Only then can the performers "pass through stages of awakening to the possibilities inherent in making music, working together, leading to the essence of what can shape musical impulses and individual freedom simultaneously."

Unlike most major composers of the era, Oliveros' work focuses on collaboration and improvisation. Lacking in the rigidity that often defines minimalist work of the era. For Oliveros, the processes involved in making music are as fundamental as the music itself. Oliveros creates, as Arthur Sabatini put it so eloquently in the liner notes,

"A world in which sound and the practices entailed in making music merge; become, at once, source and atmosphere, energy and essence, presence and dynamic."

Pauline Oliveros "The Well & The Gentle" - 2LP - Release Date 3.10.23

Gravity

snf04 : giuseppe ielasi "even when they speak of space" out dec.15th 2017.

music for whistling, microphone and digital degradation. 
recorded in november 2016 and august 2017. 
to be played at low volume.

www.senufoeditions.com

snf04 : giuseppe ielasi "even when they speak of space" part 1

This year London has experienced several weekends of the hottest summer and that moved the Australian sound artist Kate Carr, whose practice is centred on articulating the relationship between people and place through sound, to point her microphone at the city. This volume is based on her recordings during a particularly hot long weekend in a corner of very busy intersection in London, where she resides now. In Heatwave, Carr is interested in both the serious and also the more prosaic aspects of soundscapes related to climate change. She investigated the throbbing summer music from her neighborhood, people’s efforts to keep cool, and the uneasiness which accompanies these everyday activities in this moment of environmental crisis. The way these pieces construct and compensate, with all the tangible sounds that fold into larger moods via multiple instruments, exemplifies her acumen in creating sonic stories that reflect our multi-layered experience of reality.

Humidity - from Heatwave out now via Hasana Editions

from the 1st album "small souds" 1999.
recording of black mong of north vietnam singing, 
recorded and composed by miki yui.



Mong

Released on Longforms Editions March 2019
The title Stereo'frogi'ic is a play on the word stereophonic – to play with the illusion of multi-directional audible perspective – in this case presenting a quasi-bioacoustic sound piece, crafted from found recordings of frogs, insects, a recording of an animal scattering in the bushes and other 'vocal' animals wavering about in a stereo field. This piece was recorded and edited in the summer of 2019.

I have used slightly modified animals sounds to create aural illusions, morphing the perception of animal and machine generated sounds or raw recordings and digitally effected sounds. I wanted to create a tempo that would mimic something similar to the meditative sense you can experience from the flow or sound of the wind and other elements, when you are sitting in an open field while recording.

Stereo'frog'ic (Longforms Editions 2019)

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

ROKU029 - Park Jiha & Roy Claire Potter "Saenghwang For The Milky Boys"

cafeOTO

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