Cosmos (Instrumental)

from the album Charles Cohen - "Brother I Prove You Wrong" out on Morphine Records 2015 - doser026LP

Composer, improviser, and Buchla Music Easel master Charles Cohen returns to Morphine with a suite of new material. In keeping with the timbre spectrum of his semi-modular system, Brother I Prove You Wrong is built around pointillist analog tones—Cohen's cosmic "beeps and boops"—that swarm and scatter in mesmeric patterns across four sides. Moving through surrealistic textural overlays and industrial miasma, the album's nine tracks reveal a more introspective and personal side of the artist, following from a retrospective LP trilogy released via Morphine in 2013. Those assembled works, dating back to the late '70s, quickly became essential listening and brought Cohen—at the time largely unknown outside Philadelphia's experimental circuit—to critical renown. 

Brother I Prove You Wrong was recorded in Berlin in September 2014 using the Buchla Music Easel, with production help and support from Rabih Beaini. Mastered by Neel and curated and designed by TankBoys; cover art by Nathalie du Pasquier.

Charles Cohen - The Boy and the Snake Dance

SUGAI KEN is an electronic musician based in Kanagawa, Japan.
He combines synthesis with recordings of his daily surroundings to conjure the subtle and profound ambience of the Japanese nightscape.

 鯰上 - On The Quakefish is an immersive exploration displaying a rugged invention, compressed into short bursts of electrifying genius.

LFI001 will be released on vinyl as a limited edition on January 27th 2016

Album credits-
All tracks written and produced by SUGAI KEN
SUGAI KEN is performed by Ken Sugai
Mastered by Neel at EnnisLab Studio in Rome 
Translation assisted by Mariko Arimura
Cover artwork by Fred Fowler, design by Steele Bonus 



SUGAI KEN - 鯰上 -On The Quakefish -LFI001 (preview)

Ursula Bogner: Winkel Pong
Format: 7” Vinyl/DL
Label#: faitiche15
Release date: Sept 8th 2017
 
Faitiche is delighted to announce the release of a new Ursula Bogner record (faitiche15). Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner’s tape archive (CD/LP Recordings 1969-1988, faitiche01). A second followed in 2011, compiled this time by Andrew Pekler (CD/LP Sonne = Blackbox, accompanying the book of the same name with texts, photographs and Bogner’s graphic oeuvre). For Winkel Pong the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.
 
Gundrun Gut (Malaria!, Einstürzende Neubauten), an activist and reluctant chronicler of Berlin’s underground scene since the 1980s, has worked with Lucrecia Dalt. She is also familiar with Ursula Bogner’s work. Reason enough to ask her for an interview:
 
Jan Jelinek: Gudrun, how does it feel to be constantly obliged to talk about the 1980s Berlin underground as someone who was there at the time?
 
Gudrun Gut: I’ve learned to live with it as there are clearly too few people who witnessed it first-hand. Maybe it’s even important to do these interviews as a woman – so that someone actually says that women, too, have written music history. Men tend not to mention this. But it’s true, people do always ask the same questions.
 
JJ: Did you know about Ursula Bogner in the 1980s? Did you ever meet her?
 
GG: No, I never met Ursula Bogner in person and I only discovered her in 2008 thanks to Faitiche. But that’s no surprise: firstly, I don’t know every single woman artist, and secondly, far too many women artists never see the light of day. In the male-dominated art and music market, women are not considered important – or worse still, they are not understood. Look at artists like Sonia Delaunay, Eva Hesse, Bebe Baron, Delia Derbyshire and Daphne Oram. Some of them have now been discovered – but only recently. A lot has changed in the last few years: there is a growing awareness of art and music made by women.
 
JJ: But isn’t it annoying that the conventional distribution of roles still applies? One example: in many articles, Ursula Bogner has been presented as an “electronic housewife”.
 
GG: When Ursula Bogner is referred to as an electronic housewife, then sadly that reflects the situation of many women artists at the time. Women could only pursue artistic activities in private – transcendence was reserved for men. This has still not been overcome. But today, the home has become a site of professional production for all. I’m talking about bedroom producers: it is totally normal to make art and music at home. And that makes things interesting, because “working at home” is no longer associated solely with women.
 
JJ: For Winkel Pong, Lucrecia Dalt compiled and remixed three pieces from the Bogner archive. You know Lucrecia and you’ve already worked with her. How did you meet?
 
GG: I met Lucrecia through MySpace – I think it was 2007. Back then she was still living in Medellin, Colombia. Lucrecia’s father made loop machines for her that she still uses. The Sound of Lucrecia was part of my 4 Women no Cry compilation series on Monika Enterprise, each with four producers from different countries. She’s great fun to watch as a performer because she has a unique sense of rhythm and feel for music. Above all I’m impressed by her sustained approach as an artist, someone who can and does think around corners. I’m thinking specifically of her album Ou, for which she ploughed her way through post-war German cinema, using it as a source of inspiration for a soundtrack. This is proof that she thinks like an engineer – so it makes perfect sense that she would want to explore the work of Ursula Bogner.
 
Berlin, 2017

Ursula Bogner: Atmosphärische Energie (edited by Lucrecia Dalt)

From album 'TRACED', Pattern 04, Sonic Pieces, 2017

Traced

Post Human

Music composed for 'Descaler', a dance performance choreographed by Rafael Reynoso in collaboration with Nicholas Grubbs during his September 2017 residency at Otion Front Studio

Descaler I, II, & III

NADINE BYRNE
"DREAMING REMEMBERING" 
iDEAL171 LP
Available on June 1st 2018 from www.boomkat.com

NADINE BYRNE - TIME IS PRESENT, VAGUE AND FORMLESS (from "DREAMING REMEMBERING" iDEAL171 LP)

Tashi Wada with Yoshi Wada and Friends - Fanfare

Learn more: https://smarturl.it/frkwys14

©2018 RVNG Intl. // www.igetrvng.com

FRKWYS Vol. 14 - Nue

Tashi Wada with Yoshi Wada and Friends - Fanfare

Moon Wheel — རྡོ་རྗེ་རྣལ་འབྱོར་མ་

Taken from the upcoming album Both Lines Will Be Blue, out July 12th on Smalltown Supersound. Produced by Carmen Villain. Flute performed by Johanna Scheie Orellana. Mastered by Matt Colton.

Observable Future

CE-19

yolabmi "Spirit's Whereabouts"

October 2019

https://soundcloud.com/yolabmi

yolabmi - Spirit's Whereabouts

Cassette label | Focusing on the sounds of contemporary ambient, experimental, industrial, techno and relating electronic music.

yolabmi - Spirit's Whereabouts

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