Это какой то психоделик.

digital: https://boomkat.com/labels/80793
vinyl: 
http://www.redeyerecords.co.uk/vinyl/68184-bh022-marco-bernardi
http://honestjons.com/shop/label/Berceuse_Heroique
https://boomkat.com/labels/80793
http://www.juno.co.uk/labels/Berceuse+Heroique
http://www.piccadillyrecords.com/counter/search.php?search=Berceuse+Heroique&label=1
http://www.rushhour.nl/store_master.php?search=berceuse+h%E9roique&idxGroup=&SearchMode=&Submit=Searchhttp://www.deejay.de/BH021_-_Dont_Dj_-_Hexentrix_-_12-Vinyl__201751


BH21 Don't DJ - Hexentrix

ETHEREAL AMBIENT SOUNDSCAPES INSPIRED BY GAME OF THRONES AND THE  LORD OF THE RINGS AND MANY OTHERS. RELAX, ENJOY AND DRIFT AWAY.

ETHEREAL: WITHOUT YOU NEAR

The Astronomical and the Meteorological Considered

Ангелы в облаках  (Remix)

BEATRICE DILLON - Drum programming, electronics, synthesizer, bass guitar, field recordings

RUPERT CLERVAUX - Vibraphone, drums, percussion, field recordings, additional drum programming


A Different River Once - Beatrice Dillon & Rupert Clervaux

BEATRICE DILLON - Drum programming, electronics, synthesizer, bass guitar, field recordings

RUPERT CLERVAUX - Vibraphone, drums, percussion, field recordings, additional drum programming

and EBEN BULL - Pocket trumpet and zither

The Same River Twice - Beatrice Dillon & Rupert Clervaux

Caterina Barbieri & Kali Malone - Glory (Final Movement)

The final movement of Glory is a slowly evolving canon for two electric guitars pouring landscapes of bliss from the pythagorean region of the harmonic spectrum.

Composed at EMS in Stockholm SE 2015.
Recorded at Villa Strozzi in Florence IT 2016.

Side A from XKatedral Volume III
Edition of 100
Released on October 6th 2016

Caterina Barbieri & Kali Malone - Glory (Final Movement)

http://honestjons.com/shop/label/Berceuse_Heroique
https://boomkat.com/labels/berceuse-heroique
http://www.juno.co.uk/labels/Berceuse+Heroique
http://www.phonicarecords.com/label/berceuse-heroique/140433/all/latest/desc
http://www.redeyerecords.co.uk/vinyl/78690-bh031-don
https://bleep.com/label/4083-berceuse-heroique

2. BH031 Don't DJ - Pornoire

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)

Moon Wheel — རྡོ་རྗེ་རྣལ་འབྱོར་མ་

SHOWS ~~~ https://docs.google.com/document/d/1Eu1TZ7zHEoHie3vBrfm3seADArmpV6Xq0kLCbzZQy00/edit

Mind aloft in the imaginary. Based in Kuopio.

Produced, composed and performed as part of Luxos with Daniel Magee (Lo Kindre), Green Door Studios' NEET and Tarantula band in Glasgow. Audiovisual collaborations with Roos Dijkhuizen, Mary Hurrell and Katie Shannon. Audio adventures with Chihei Hatakeyama, Civilistjävel!, Perko, Haron Aumaj, Ed Simpson ELS and Ben Vince. Remixes for Adela Mede, Alasdair Roberts and Wraetlic. 

LPs on Night School, BAKK, Editions Mego, Primordial Void, Offen Music, Mappa, Infinite Greyscale and Ecstatic Recordings. Compilation entries for Optimo/So Low, Weaponise Your Sound, Objects and Sounds, Theatrum Mundi, Extra Noir, Huntleys & Palmers and Osàre! Editions. Live appearances and mixes for BBC3 and BBC6, RAI3, NTS, Radio Raheem, Noods, Netil Radio, Bleep and Ransom note. Past radio residencies on LYL, Clyde Built Radio and Subcity. 

Artist residencies in three national parks in the South of France with choreographer Frank Micheletti, at WORM Rotterdam, Hallo Festspiele in Hamburg and Intonal Festival in Malmö with Emanuel Sundin and Maja Li Härdelin for SHAPE+ platform. Commissions for Radiophrenia, Sonica Glasgow and Performa/Pioneer Works in Brooklyn. 

Composed work for independent and commercial film, international dance productions, fashion runways and community fundraisers. Performed in thirty countries worldwide.

Research and creative work supported by Creative Scotland, Scottish Funding Council, Scottish Music Centre, Leverhulme Trust, SACEM, Arts Council Luxembourg and Finnish Culture Council.

SRT

CUCINA POVERA

Recent comments

Negative Headphone

The Nod

User 396298578

Kuba Kapral

Related tracks