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Berths

Alone (Alone)

Vocals by U_U
Production by IKARI (SAWTOOTH)

U_U  -■-  IKARI  -  So Long

CHILDREN OF SILK EP 

spotify: http://spoti.fi/1N5wwpr
itunes: http://apple.co/1NMULtp
www: http://bit.ly/1JsCS1h
facebook: http://on.fb.me/1NJjrHP

"do not rename it when it can't be pronunciated. 
do not despise it when it is undressed. 
do not abuse it when it is in bloom.
do not only honor it inside buildings with marble vestments. 
do not stone it when beyond the walls of comprehension. 
do not kill it with gloves of silk for they will only soothe it.”

After the success of her first self-released EP “The Suspended Kid”, Sevdaliza releases her second batch of enigmatic songs on “Children of Silk”. The songstress/producer draws her influences from several textures like skin and glass. Sevdaliza’s melancholic visceral voice floats over beds of mechanical instrumentation, creating dynamics of chaos and order. Her songs have a philosophical questioning character, subjects like gender diversification and perception of emotion are strongly present. Diverse comparisons have been drawn yet it remains a difficulty to specify her in a particular genre. Rhythmic tensions build slowly into chaotic climaxes. Every retribution of her lyrics becomes more intense and personal, yet she isn’t able to break from that obscure statue of a woman. Children of Silk is now available worldwide via Itunes/Spotify.

lyrics:
this man of mine 
breaks to be desired 
this man of mine
a man to be admired 
this man of mine 
he reconsigned his heart 
this man of mine 
isn't yours, isn't mine

a man of glass
awaits his days
without a cause 
a gaze

some tales are meant to stay apart 
into a vague distance
some lives are better kept apart
bound to be inexistent 

MEN OF GLASS FEAT. ROME FORTUNE

     In Synecdoche, there are eight basic sound events, five synthesized pitches, and three percussion samples. Two tempos increase at different rates, creating the form. As the tempo increases, out of the range where we perceive rhythm, each note is heard less as a distinct event and as more of a single sound with a shifting timbre. Synecdoche explores the limits of human rhythmic perception.
     The piece uses self-similarity as found in nature—an object constructed entirely by repeated application of a single procedure. Self-similarity is reflected through the use of tempo changes. The listener may hear the faster tempo as a different event, but directly relates to the tempo in beginning of the piece.

artwork by Kazimir Malevich

Synecdoche

Premonition (2016) a film by Patricia Cram

Raw and live score by Kevin Gan Yuen // Travis Bean Standard + Reverb, Delay(s), Dist, Loop/Sampler, Field-recordings via Roland 404SX (to PA mix) + Sunn 2000S + Atlas custom 4x12 + Atlas custom 2x15 (series). 

Audio sourced from video captured by Lara Miranda on a SONY DSC-H20. Placement: mid-room

Thanks to: Patricia Cram, A.K., Lara Miranda, James Livingston/BLACK HORIZONS,  Aria Rostami, Daniel Blomquist, Ryan Page, Jen + Sean/ORRA, Lee + Brittany at Amnesia SF for facilitating and Atlas custom cabs (the series box is amazing!!!)

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