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We’ve reached book IV in Rupert Clervaux’s series of “Zibaldone” audio diaries, at which point we find him telling a different kind of story. 

“The first three all had very specific themes, while this one feels a little bit looser and doesn’t have just one thematic thrust,” he tells me, which maybe explains why listening feels a bit like annotating. I’m underlining, emphasizing, drawing arrows from here to there, highlighting symbols and noting motifs, realising, questioning, eureka-ing. An impressionistic meaning’s been encoded in and we’re lucky to be given the space to play that most poetic and boundless of all mental games: narrativization. 

There are no wrong answers, but Rupert offers some clues either way. If there’s any cipher here it’s “something like a meditation on the concept of ‘depth’––in all its connotative forms.” Think below the surface, (the) underground, yawning oceans, being ‘down in the dirt’, soil, roots, rootlessness, pulling at the dregs, collapse, profundity, stable and unstable horizons, distance, perspective, intuition, not to mention relative opposites: to be shallow, to be above, to be beyond. 

It’s got me thinking of Bresson’s “Bring things together that have as yet never been brought together and did not seem predisposed to be so.” His: “Dig deep where you are. Don't slip off elsewhere.” Rupert has realized these—two favourite goals of mine!—here. 

This is music that catches you at your own periphery, gives pause, has you offering a little “huh” to, asking “I wonder why” to. Again, it’s got me musing on another mindworm, this time from New York publisher and multi-sensory reading room Dispersed Holdings: “Feeling-making-knowing feedback loop; cartography of feeling; water as text, read to know the land beneath and around it, and body as reader.” 

Is it ok to offer up these other contexts out of context? I think so, because Zibaldone IV articulates a similarly swirly tone. Like, we’ve got Rebecca Solnit talking through Kropotkin’s “Mutual Aid” and later calling out to Michael Ruppert a ways away, and “Easy Rider” is playing in the wings. We’ve got Susan Sontag magically contextualizing Mariah Carey with poet Thylias Moss triangulating in order to sketch out (Rupert again) “something a little more interesting than wilful eclecticism or that laboured and patronising kind of pop-savvy.” 

Are we following? Whether yes or no Vanessa Bedoret follows on with a performance of a performance of Moss’s 'Water Road’: to be once or twice removed, via strange transitions, purposeful confusions, and, suddenly, seagulls. We’re on a boat with Ingeborg Bachmann—and how I wish I could actually be! But maybe thanks to this music I can as literature, films, friends, lethargy, coincidences, little mental links, eternal wormholes, lingering notions come together to imagine something better. 

Text by Natalia Panzer 
npanzer.com 

Artwork by Coline Cornélis 

Music by Rupert Clervaux 

with 
Vanessa Bedoret: voice and violin on Thylias Moss #2 
Eben Bull: trumpet and electronics on Mutual Aid and Departure from England 
Isis O’Regan; voice on Departure from England 
Nick Taylor: electronics on Chthonic ’97 
Ben Vince: saxophone and electronics on Chatsworth ’17 

Artwork by Coline Cornélis 

Warm thanks to James Marrs, as always, and Natalia Panzer 

Vanessa recreates and reads an excerpt from ‘Water Road’ by Thylias Moss. Isis reads ‘Departure from England’ by Ingeborg Bachmann (translated by Peter Filkins). This record is dedicated to both poets––with great respect and deep admiration.

04. Does Pop Culture Interest You?

Graeme Miller
Comet In Moominland
(FKR111) Finders Keepers Records

Release date: 3rd June 2022

From deep in the heart of Moomin Valley, frozen in time for many midwinters passed, comes a genuine treasure chest of never heard Moomin melodies and instrumental comet songs composed for the continued animated adventures of our Fuzzy-Felt freak folk friends who disappeared from UK TV pastures in the mid-1980s. From the top of the Hobgoblin's Hat and the bottom of Snufkin's satchel, original Moomin's composer Graeme Miller (The Carrier Frequency) kindly shares this patchwork selection of spellbinding sound poems and percussive peons made using the very same selection of ocarinas, kalimbas, miniature squeak boxes, Waspy synths, cornflake box shakers and a seemingly endless array of talent and lo-fi home studio trickery.

Regarded as one of the most enigmatic, beguiling and haunting imported children’s programmes to ever grace UK TV screens, The Moomins was one of the first-ever commissions by Anne Wood (The Teletubbies) who ingeniously replaced the original Polish/Austrian/Finnish soundtrack with homemade music experiments by unknown post-punk theatre students Graeme Miller and Steve Shill (aka The Commies From Mars) who after the screening of two unforgettable series in 1983 and 1985 were left in eager anticipation of rescoring further Moomin adventures with new melodies, arrangements and sound designs which then lingered in the ether waiting until the Groke awoke and Snorkmaiden sang once more. With future felt adventures screened exclusively in Poland and Germany for many years (often as feature films) these unheard recordings are the only genuine musical sequel to the bizarre UK version of The Moomins and stand as important inclusions the Graeme Miller's own portfolio of theatrical theme music and sound installations as part of The Impact Theatre Cooperative including collaborations with artists and writers such as Russell Hoban. Witnessed in fragmented form during a short run of incredible rare live screenings at The Barbican Theatre and various film festival this record marks the first time this music has been heard in its original full-length form, free from sound effects, dialog and whimpers of euphoric joy and nostalgia from those who have continued to crave the company of our Moomintrolls and their mysterious music over the last five decades.  

www.finderskeepersrecords.com

Comet In Moominland

Raft Journey

Graeme Miller - Raft Journey

'Mosaic' is the debut LP from Throwing Snow, released on Houndstooth on June 2nd 2014. Available from iTunes: http://smarturl.it/iTunesMosaic and the Houndstooth store: http://bit.ly/MosaicLP 

Tour dates:
Sun 01 June - Official Album Launch: Ace Hotel, London, UK. 
Thu 05 June - In-store: Rough Trade, London, UK. 
Fri 06 June - RBMA Weekender, Warsaw, Poland
Sat 07 June - Parklife Festival, Manchester, UK
Sat 07 June - The Brickworks, Nottingham, UK
Fri 13 June - Sonar Festival, Barcelona, Spain
Wed 18 June - King's College, Cambridge, UK
Thu 19 June - The Rockingchair, Sheffield, UK
Sat 21 June - Pumpehuset, Copenhagen, Denmark
Thu 26 June - The Sunflower Lounge, Birmingham, UK
Sat 19 July - Lovebox Festival, London, UK

US Press | Louise @ MOTORMOUTH - louise@motormouthmedia.com
UK Press | Naomi @ TOTEM - naomi@totemlondon.com

Buy from iTunes

Throwing Snow feat. Py - As You Fall [Houndstooth]

British musician Jo Johnson’s debut solo album for Further Records, Weaving, betokens an exciting presence in the world of minimalist composition. 

“Ancestral Footsteps” opens the LP with cascades of cyclical harp-like sounds, an homage to one of Johnson’s primary inspirations: Alice Coltrane. Channelling rigorous new age and mesmerizing Riley-esque/Reichian minimalism, the piece accrues heft and intensity, with occasional bursts of synthetic, tribal clapping until it fades out with cinematic flourish. The title track gradually alters simple guitar and keyboard phrases, along with a chiming motif that multiplies in a hall of mirrors. The disorientating arpeggios form moiré patterns against colossal bass notes. The mood lightens considerably with “Words Came After Music,” whose sweeping strings and drones could take you to whatever your idea of heaven is. Interestingly, the title of the piece is inspired by an anthropological theory Johnson stumbled across that musical ability predates language in humans. With its sombre, undulating synths and lustrous highs and lows, “In the Shadow of The Workhouse” plumbs profound emotional depths. Epic closer “Silver Threads” starts as an almost silent retreat in the vein of Laurie Spiegel's Appalachian Grove or Eno and Budd's The Pearl with the faint hum and buzz of telegraph wires, until four minutes in a stoic pulse and suspenseful chiming motif arise, buttressed by glowing synth sighs and the LP's only percussive thumps (think Incunabula era Autechre). 

While inspired by the "serious music" of Arvo Pärt, Wim Mertens and others, Johnson’s mandalas of tone mantras offer a playful, DIY sense of adventure, as you might expect from the former guitarist for incendiary punk group Huggy Bear and a long-term co-organizer of London’s Bleep43 techno club night and label. Weaving condenses Johnson's long love affair with free jazz, minimalism and electronic music and this unique ambient composition is invested with powerful emotional resonance.

Weaving

Backing

DarKYYComet - Too Good To Be True (Free Download)

Pineuk final

from 'Talk the Pleasure Out of It"

'Talk The Pleasure Out Of It' is the new release from minimalist composer Richard Chartier’s Pinkcourtesyphone alias. Building on his previous records, the movements cut across this 10" blend live electronic and processed experiments resulting in a darker, more rhythmic voyage of texture and form. Stunning opener 'Stars Fell (Closet Mix)' sets the atmosphere with an enthralling low fidelity loop with emotive string swells and surging crackle. 'Every Last Lightbulb' is next up with oscillating loops and spiralling pulses, while 'Seemingly Endless Credits For Stars Fell' introduces driving rhythms around mesmeric synth clusters. 'A Message' brings the journey to an end in an introspective mood with thought provoking dialogue and flickering drone washes. 'Talk The Pleasure Out Of It' is a classic progression of ambient minimalism. Turn the lights out, lie down and immerse yourself. Stunning atmospherics.

available as a very limited edition lathe cut 10" vinyl record on CHAMPION VERSION, UK

Talk The Pleasure Out Of It

Stars Fell (Closet Mix) by PINKCOURTESYPHONE

I'm Not Nothing I'm Something

a tribute to Stephen Hawking, on the day of his death. 

Equipment: Zetaohm FLXS1, Mutable Instruments Elements, 4ms DLD

Intelligent Life

available here > https://detund.bandcamp.com/album/plasmodesma

Plasmodesma (Pd) are units of co-axial membranous channels in the plant cell wall that in conjunction with associated phloem, form an intercellular communication network that supports the cell-to-cell and long-distance, providing a wide pathway spectrum of nutrients as endogenous proteins and complexes. The contribute of such macromolecules is of importance in the orchestration of non-cell autonomous developmental and physiological processes. 

In abstract terms, Plasmodesma represents an structure that allows the flow of different facts on each person daily life which provides essential nutrients, as hope, well being, sensation of peace an calmness .. esentially, parameters to convert negative situations into a positive situations, all under a dark threat context that life brings us on each moment. 

In Plasmodesma you will find mechanical rhythms, hypnotizing glitches and deep slow evolving textures, projected with a final purpose to represent the procedure. 

Dedicated to Jone and Eva [ plasmodesma 1 | 2 ]

01. vortex count - methhb [part1] | plasmodesma | detroit underground DU-NTRL02

Modular Sketchbook 11-15-18

Artist - John Jeffrey
Title - Leaving Franklin
Album Title - Passage
Release Date - October 30, 2020
Label - Jean Sandwich Records
Cover Photograph - Ian Wallace
Cover Design - D.Norsen

Leaving Franklin

Recording electromagnetic signals and atmospheric events using fragile methods form my music. (phonography + electroacoustics | psychogeophysics)

I'm Not Nothing I'm Something

clocolan

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