From Throb, shiver, arrow of time
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Throb, shiver, arrow of time

Ultra valid

Purchase: bit.ly/daniailyas
Catalog #: GN77
October 22, 2024
LP+DIGI

DANIAILYAS is the collaborative, cross-continental project from Barcelona-based composer Dania Shihab (Paralaxe Editions), and Portland-based avant-gardist, Ilyas Ahmed (Grails member and collaborator with Liz Harris, Jefre Cantu-Ledesma, and Golden Retriever). Having both previously issued solo works through Geographic North, a remote one-off collaboration soon manifested into an on-going aural dialogue, yielding the duo’s debut ‘Enough for Me to Remain.’ The album stands as a hallucinatory masterclass, charting into the theater of the uncanny—Dania's transcendent vocal melodies and cathartic synths exquisitely woven between Ilyas' mercurial guitar in some vaporous dance of beauty. A love letter scribed in blood. A bloodletting drenched in hope.


Opener “The World Spins” immediately establishes Dania and Ahmed pairing as a truly exalted engagement—a nascent collaboration with boundless potential and cosmic chemistry. It’s the best of both worlds, with Ahmed’s spidery, open-ended acoustic gestures providing the perfect backdrop to Dania’s double-tracked and echoed lyrics spoken into the darkness. The morbid mise en scène of “Be Where” creaks with diegetic gloom and deeply sullen composure, straddling the physical, astral, and ethereal plane at once. 

Commencing in a blur of solemn acoustic genuflection, “Walking Through Another Door” ambles along with wordless, funereal focus. Vocally, Dania meticulously layers various vocal parts into a unified, mellifluous missive delivered with disembodied elegance and weightlessness. It’s equal parts angelic and grievous, striking a chord of heart and mind. “Breathe and Start Again” continues the emotion into more kaleidoscopic patterns, with a heaving manipulated clarinet motif turning over and over again through its habitual dance and Dania’s spectral coos floating by like storm clouds at dusk.

“The Pilgrim” ushers in an unassuming epic of dust-swept vistas haunted with spirits of yore. Beyond capturing a “cinematic” feeling, the song is essentially “pure cinema,” conjuring aural images that are both historic and timeless. In the song’s final moments, Dania’s refrain “Feeling dark again” enters the weighted darkness, bringing a flash of light and hope amidst the oblique obscurity. Closer “Coming Home” offers the most vulnerable and delicate moments on ‘Enough for Me to Remain,’ creating ample safe space to console and comfort in these weary times.

DANIAILYAS - "Be Where"

cart2

dx10-155

Invisible
Far Away
Signals
Come unsorted
Some ghost you are to be so easily
I wanna see
How my light
Refracts on your metallic surface

ORBITER

CONSTELA

Title track from "Au temps pour moi" LP on Thin Consolation
-> https://thinconsolation.bandcamp.com/album/au-temps-pour-moi

Composition, mix, mask: Antonin De Bemels
Mastering: Yvan Hanon

Au temps pour moi

my spirit is STRONGER —̳͟͞͞♡

looped from leon bolier
orion stars sourced from pinterest :)

B-Side

Track A1 from Tsembla 'The Hole In The Landscape' [NNA110]
Available May 25th, 2018 on Limited Edition Vinyl & Digital formats.
http://nnatapes.com

The Hole In The Landscape

Tsembla "Gravitating Bones"

less bells 'bird in hand'

FUJI||||||||||TA, iki, LP

Release date - April 3th 2020
Catalogue nr. - HG2003
Format - Ltd. Vinyl/digital

https://hallowground.bandcamp.com

Credits:
All music composed, played and Recorded by FUJI|||||||||||TA
Mixed by Makoto Oshiro
Mastering by Lawrence English at Negative Space

Tracklist:
1) keshiki (09:42)
2) nNami (09:20)
3) osoi (10:12)
4) sukima (07:03)

///
"FUJI|||||||||||TA has created a work that operates as a beautiful nexus between the material and immaterial qualities of music. 
It is a lived-in dreamscape of deep, rich tonality. A remarkable debut."
(Lawrence English)

///
FUJI||||||||||TA, real name FUJITA Yosuke, is a Japanese sound artist. After countless performances in different contexts either solo or along artists such as Yamantaka Eye of Boredoms and the legendary avant-gardist SUZUKI Akio as well as a slew of solo releases, his LP »iki« (»breath«) for the Swiss-based Hallow Ground label is his first in nine years. On these four pieces, Fujita explores the idiosyncratic sound qualities of the pipe organ he has built all by himself in 2009. This - quite literally unique - instrument features only eleven pipes, an air pump called »fuigo« which was modelled after a traditional blacksmith’s one and has no keyboard. Inspired by traditional gagaku, it was designed to evoke rich landscapes rather function as just another musical instrument. While his previous records saw FUJI||||||||||TA explore various modes of abstraction, »iki« is a highly emotive yet meditative album, musically restrained but full of imagination.

»keshiki« immediately sets the mood for this record with a long sustained note that is punctuated by the soft clicking of Fujita’s air pump. Once Fujita carefully starts bringing melodies into play, the interplay of the drone and the discrete rhythmic element gives way to a fuller harmonic whole. »keshiki« is an intimate piece that perfectly displays the artist’s knack for painting a rich sonic picture with only a reduced palette. »nNami« juxtaposes the sounds of two pipes that are out of tune with each other, creating a hypnotic sensation of ebb and flow (»nami« translates to »wave«) that is full of subtle friction. It’s a staggering artistic interpretation of the instrument’s material characteristics. Clocking in at ten minutes, »osoi« (»slow«) is an overall melancholic piece that explores the relationship between different tone colours through minute changes in pace. Finally, »sukima« (»blank space«) is the shortest and the most rhythmic piece of the four. Composed of only staccati, it is a masterful exploration of the harmonic qualities Fujita’s stunning pipe organ has to offer.

Recorded between September and December of 2019, »iki« marks the culmination of FUJI||||||||||TA’s ten-year-long work with the instrument that he had built without any prior knowledge and started to teach himself to play without a manual in sight. It is, in other words, the unique result of a unique musical mind paying his dues to the uniqueness of his own creation; introspective and welcoming at once.

FUJI||||||||||TA - osoi (HG2003)

( DJAX-UP-BEATS- 354 ) 12 inch Version  cocamide ep(djax up beats -354)Release date 2002 on Djax up records

B-Side

Northern Underground

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