Beautiful piece 😍 🙏 🍀 🎶 🎧 

This element adds a good drop in emotions and I appreciate the evolution you're giving him

Pale Sakura (Naviarhaiku 378)

Fossil Hunting Collective is musician and sound artist Jamie Jones, from Guelph in Canada who has been active under this artist name since 2019. He has previously released music on labels such as Ambientologist, ROHS, Polar Seas and Rusted Tone Recordings across this project name and as (ph)authers (alongside Hymns57) and Still Harbours (with Brad Deschamps). Followers of our discography may also recall 2020’s contribution to our Home Diaries series, entitled ‘Aperture’. 

‘Cyanotype’ was made primarily, via the beautiful surprises thrown out of various guitar pedals along with re-amped loops played back through old cassette recorders. Whilst virtual plugins are also used throughout the process, Jones places an emphasis on the physical too, with his small body acoustic guitar strung with nylons, a Jazzmaster guitar, a baritone ukulele and reel to reel tape. The sound is a heady blend of melancholy, nostalgic and life-affirming movements, using droning texture, tape decay and loosely performed instrumentation to tell dreamy stories.

The theme for this album was born out of the emotions that Jones pours into his music, as he contemplates the day-to-day struggles of his daughter Hunter, who has been Type 1 Diabetic for the last two years of their life. This autoimmune disease can be life-threatening if not managed correctly and around 95% of Jones’ headspace is occupied with worry, as follows strict procedures to count carbohydrates, weigh out food and monitor blood sugar metrics to ensure that his daughter does not become hypoglycaemic, which could lead to a coma. Controlling this disease is a full-time job and one which Jones carries the weight of at all times. The worry, care and withered energy levels mean that these emotions surface their way into the music, when he sits down in his studio late at night.

The album is a homage to what Hunter must go through each day of their life, living with Type 1 Diabetes.  No child or parent should have to go through this. No child should need to understand how it all works, but they are forced to wonder ‘why me’.  On top of the weight of the emotional trauma, there is a physical trauma that comes with being injected with devices and life-saving medication numerous times a day, until a cure can be found. Jones and his family are keen to remind themselves when they can, that the disease does not define the being, and they still celebrate all the positive splendour life can offer. These tracks are an emotional journey of the day-to-day; there is the good and the bad, days of hope and wonder, days of melancholy and sadness.  Above all, they are not alone in this fight, and they all work together as a unit, protecting their family bond fiercely, like bees.

At an age of around 18 months, Hunter adopted the nickname ‘B’, after being so enthralled with their bee costume for Halloween that they continued to wear on many occasions afterwards. The track titles for this album are all influenced by bee related terminology but also, in some cases there are double meanings, such as ‘Apiary’ (meaning home), ‘Castes’ (members of the family) ‘Mellitus Propolis’ combines Mellitus (Latin for sweet)) used in describing Diabetes Mellitus and Propolis (the resin that bees use to hold hives together).

The album package makes use of the artist’s wife Richelle Forsey, who is a visual artist. Richelle often employs a process using the energy of the sun (ultra violet) to expose a camera-less image on paper coated with iron salts. This is called a cyanotype and the paper undergoes a chemical reaction which fixes the image, thus creating an imprinted monochrome ‘blueprint’.

Cyanotype

wlr121 Fossil Hunting Collective - Cyanotypes

Sustain Series returns for its third iteration, bringing together ever-more artists for another showcase of recycled music. Reworks and newfound collaborations make up this 27-piece album, demonstrating what can be achieved with ‘one’s trash and another’s treasure’.

 https://bit.ly/amb-sustain3

All Bandcamp proceeds of this album are to be donated to Eden Reforestation Projects, to help continue their work sustaining important local environments, and providing jobs to those that restore and maintain them.

anthéne & IKSRE - sunlight on the tundra

NEW DRONE VIII Undermedvetna

Generative Tape Test #4

A relaxing ambient soundscape to help you relax or focus.

Stillness of Motion

EnCOUTnTErs - The Avian Speculative at Cafe Oto, July 25, 2018.
Also performing: Lee Patterson and Sharon Gal. 
Pic by Sonia Levy/SoundFjord
Recording: Hear and Now, BBC Radio 3.
July 25, 2018.

Set - EnCOUnTErs - Cafe Oto, July 25, 2018 - recording thanks to BBC Hear and Now Radio 3

Against all kind of oppression: physical, psychological and social.
This track is a farewell to a strange period of my life. This me that no longer exists. Enjoy!

Kerosenic Narcissus

included in Occulto Compilation #6 by Occulto Magazine

occulto.bandcamp.com/album/occulto-…fqg03eR2Ra2lMs

The Toxic Nostalgia Of Your Memory

The structure of Malakosha is based on a repetitive textile weave which, on each repetition, is proportionally augmented until it is 24 measures long. Melodic patterns and change within these patterns also follow the structure of the weaving pattern. The work takes its title from the pentatonic Indian raga on which the harmony and tonal range of the music is based. Each section expands by adding more notes to the repetitive melodic patterns. Over the course of the work the role of the "noisy patterns" develops: initially they are in the background and then gradually become part of a louder soundscape with the live instruments.

Performed by Royal Northern Sinfonia, conducted by James Weeks at  CoMA Festival of Contemporary Music for All on 6 March, 2020 at Sage Gateshead, Newcastle, UK.

Recorded by BBC Radio 3:
https://www.bbc.co.uk/sounds/play/live:bbc_radio_three

The work was commissioned by the international contemporary music festival ARS MUSICA (Belgium) and premiered by ENSEMBLE 21, conducted by Marc Collect on 29 November, Brussels.

Malakosha_Royal Northern Sinfonia (The Excerpt)

Our Ancestors Are Like Trees That We Sow In Soil From The Sea

Camilla Pisani is an audiovisual artist based in Rome. She looks for the interaction between space, sounds and abstract graphic signs. Her music is an hybrid, moving into a set of influences: ambient, drone, soundscape, soft noise, industrial and minimal electronic. She composes field recordings, suspended atmospheres, hypnotic textures marked by concrete rhythms.

✉️ For bookings and inquiries, please send an email to pisani.camila@gmail.com

The Toxic Nostalgia Of Your Memory

Camilla Pisani

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