Balmat’s second release comes from @hoavi, aka Kirill Vasin, a Russian electronic musician whose work approaches what might be familiar reference points —deepest dub techno, atmospheric ambient, liquid drum’n’bass— with a singular and refreshing point of view.

We first became aware of Hoavi after coming across one of his tracks in a DJ mix by Leech, aka Peak Oil label founder Brian Foote; we began corresponding, which led to a massive zip file of unreleased tracks turning up in Balmat’s inbox. Music for Six Rooms has been culled down from that bounty, its disparate moods distilled into 10 profoundly immersive tracks that touch upon dream pop, dub techno, and new age, all swirled together into the headiest of ambient dreamscapes.

Active since the early 2010s, when he founded his Shells Rattle label, Hoavi has released on a number of labels including floe, Snare Tapes, Fauxpas, and Minor Notes. In October, Peak Oil will finally release his album Invariant, recorded in 2019 and intended for release in 2020, then tied up in pressing-plant backlogs for over a year. Balmat’s Music for Six Rooms follows roughly a month later; we think that the two albums offer a wonderfully complementary view of Hoavi’s talents—one rhythmic, the other largely beatless, yet both of them sensuous in the extreme.

Music for Six Rooms appears in two slightly different editions. The vinyl edition appears on a single piece of vinyl upon which some tracks have been subtly edited in length, to ensure maximum audio fidelity; the digital version features extended edits and runs some 18 minutes longer, in total, for a maximally immersive experience.

Music for Six Rooms

Hoavi - Music for Six Rooms [BALMAT02]

2021 comes to a close with a special show featuring Chaperone and Glyn Maier (who runs the incredible enmossed label). These two diverse artists continually collaborate and release experimental music that sets the bar higher each time for us all. With elements from manipulated bossa nova records, new age cassette collage, and synthesizer wind chime ambience, you’ll hear material that will soon be released as Dubbed To Brasil Vol 3 on Jungle Gym Records.

IG: @_chaperone @enmossed

www.thelotradio.com
www.instagram.com/thelotradio
www.facebook.com/thelotradio
www.twitter.com/thelotradio
@thelotradio

Bright Patterns presents Desafiniado with Glyn Maier & Chaperone @ The Lot Radio 12 - 09 - 2021

Spectres EP released on @weird_nights 

Abstract electronic soundscapes exploring the concept of collective memories, wrapped in packing of the recycled medium.
The EP is released on second-hand cassette tapes with music by Russian Chanson artists originally recorded.
Side A contains 6 original tracks by Corell. Heavily processed and transformed samples and snippets of audio, turned into the unconscious flow of sound.
Side B (tape only) is an attempt at recycling of Russian Chanson music as an object of collective memory. It is a processing of the material originally recorded on each tape. So each of the 28 copies of tapes contains a unique track on Side B.

“Russian Chanson is a music genre romanticising criminal lifestyle. Hugely popular among the traumatised Post-Soviet society, it was a music of public spaces in the late 90-ies - early 00-s Russia. As a child I could meet it, against my will, in many unpleasant situations and uncomfortable places. It could be heard in public transport, in the streets, shops, out of the windows of cars driving through the red traffic lights.
Spectres is an attempt to overcome this distressing experience. Could I isolate and remove the negative associations and traumatic memories related to this music by processing and manipulating the audio and transform it into something else? And if I could, then what’s left instead?”

Mastering @igordyachenko

https://weirdnights.bandcamp.com

Spectres

Spectres EP Previews

Paroxysm for Longform Editions by Noémi Büchi.
https://longformeditions.com

credits: 
Mastering by Manuel Oberholzer (VFBM)
@feldermelder
__________
LE114

Noémi Büchi is a Swiss composer and sound artist that creates electronic, symphonic maximalism. Her music is defined by a delicate synthesis of textural rhythms and electroacoustic-orchestral abstraction. 

Büchi explores the potential of consonance and dissonance, contrasts rhythmic physicality with disruption and playfully emphasizes irregularities, creating an expansive listening experience marked by detail and elevation. 

"My piece Paroxysm starts from a puristic dry rhythmic structure. The second part then goes into a fusion of rhythm and harmony. The question that preoccupied me was on one hand how these two main elements of music relate to each other and what shapes they can create together. On another hand I was preoccupied by how the listening behaviour adapts and changes to the compositional structure and sound events. 

The sound world in this piece is characterised by warm, dense, orchestral and at the same time by very filigree, dry, electro-acoustic sounds. I also used my own voice in interlaced harmonic shapes that are made rhythmic, giving the overall mood an almost sacral character. My voice appears fragmental and tries to assert itself in the complexity of the rhythm. Slowly everything degrades into polyrhythmic structures, with harmonic components taking the upper hand more and more. The listening behaviour is redirected here. The harmonies are repeatedly broken abruptly by the rhythm.

I work across genres in my music. Familiar elements from classical music, jazz, folk and also techno can be recognised. There is nature, and the outside world to hear, made of plastic, metal, wood, water and earth. The subject of matter continues to occupy me in my musical work, and I try to get as close as possible to the physical world through sound.

I’m very concerned about the method of reduced listening. It is a way of listening that focuses on the character of each individual sound shapes without carrying about their sources or meanings. Also, this kind of listening is about specifically picking out the individual elements, distinguishing them from each other, and understanding their relationship to each other. I cultivate a special interest in such listening techniques because on one hand I really appreciate to create structures that make sense to me in a very raw compositional understanding, and on the other hand these kind of techniques teach me to go within and focus with deep conscious concentration. It is very similar to meditation and trains and shapes our whole consciousness, and thus our connection to reality. At the end what interests me precisely how the listening behaviour changes according to the sounding event. I find it fascinating how sound guides us and how we unconsciously adapt our perception to the sound happenings. With deep listening, one can consciously focus on such phenomena and suddenly explore and get to know previously unexplored things about the unconscious. It is as if one gets to know oneself in depth during this process, like in a deep meditation."

Paroxysm

Paroxysm, LE114

Order Track

Paroxysm by Noémi Büchi | Longform Editions [November 2022]

Tape available now via Imprec.com

Duane Pitre's Varolii Patterns was made with an eight-voice synthesizer, tuned in Just Intonation. These consonant pieces explore shifting polyrhythms that slip in and out of rhythmic focus and "Common Rhythmic Pulses" that carry over as the pattern evolves within a piece.

Artist statement:

"While experimenting with microtonal electronics for a piece I was writing for Zinc & Copper, which would eventually be titled Pons, I came across a process-based technique that I was quite keen on. Although I wouldn't use this technique on the Zinc & Copper piece, I would later implement said process to make up some of the electronics on Omniscient Voices. During this time I carried out dozens and dozens of instances of this process and recorded them all. Varolii Patterns is composed of a small collection of these recorded takes, ones I felt were stand-alone pieces on their own and that worked well together as a whole."

Duane Pitre - Varolii Patterns 10-1 - Tape Available Now

del polvo, del azar, y de la nada

Hopes and Theory is a collection of songs inspired by wild plants and intentional gardens. At its core this music is rooted in synthesis, autonomy, and purely tuned harmony. At its heart there is chaos, color, and evolution. Hopes and Theory was recorded on the island of North Haven, Maine and reflects the anarchy of serenity in a seemingly peaceful place. 


William Trevaskis is a composer and sound artist living and working in the Fox Islands of Maine who uses xenharmony to explore themes of chaos and nature. William's r&d marries modular synthesis with microtonality and live performance. Currently, he works using a combination of generative and live-performance systems to create a sonic landscape that calms and transfixes.

William Trevaskis - Hopes & Theory - Tape

Left leaning ethereal sounds from Lithuania’s Yurei and Joshua Cordova.

MEMORY SCREEN w. Yurei and Joshua Cordova [15.11.2023]

Moondora Station

My contribution to Native Response's compilation 'NR004'

Viewpoint Clarity

Released May 1, 2020

PGS 015.03
Pablo R. Ruiz

Written and Produced Pablo R. Ruiz
"The Year Music Died" Curated by Kenjiro & Shigeto
Design by Vinnie Massimino

Move

Pablo R. Ruiz - Move

Corell is a moniker of Roman Kutnov - producer, composer and sound artist. During the last decade he worked as a solo artist as well as being involved in collaborative projects ranging from indie-rock bands to improv and contemporary academic music collectives. Having an art background Roman works with artists, performers and choreographers providing music for multimedia installations, dance and theatrical performances.
In 2017 he started Corell - a cross-genre project with the focus on ambient and experimental music. In his works he attempts to find a distinctive sound through combining polymetric beats, atmospheres, textures, mutating and morphing loops and rhizomatic composition structures

Spectres EP Previews

Corell

Recent comments

applicant

Corell

Corell

Corell

Related tracks