Lend Me Your Radio - May 19

Robe rehearsal 181017

+ Buy: https://fanlink.to/sun-inside-remixes
+ Info: https://subtempo.com/releases/sun-inside-the-sun-remixes/ 

‘Souns - Sun Inside The Sun (The Remixes)’ is a collection of 4 unique reworks of Souns’ original song ‘Sun Inside The Sun’ taken from the Aquamarine album originally released on December 2017. It's forthcoming on Subtempo, and will be out in May 31st. 

Heralding on relationships that have developed over the years, @michaelred handpicked @synkro, @loscil and @phaeleh to remix his ambient material that he composes under the @souns-3 alias. Michael has shared the studio, or the stage with all three of them in multiple occasions, making this collaboration a natural continuation of their work together. 

Loscil sets the tone with the first remix. The ambient music maestro, who is widely recognized as the king of dynamics, continues to redefine the boundaries of the genre with this one. Loscil’s remix allows time for the main idea of his song to develop, with mysterious melodic hints as to what’s to come. In his usual fashion, the use of space and deep pulsating rhythm compound, driving the track into an entirely new landscape, transporting the listener into far away northern lands, where whales live and fog covers the calm oceans.

Souns - Sun Inside The Sun (Loscil Remix)

Small multitracked thing. Buchla 208r and guitar.

Nytt Liv

ORDER: https://ekinfil.bandcamp.com/album/koma

Ekin Fil is the solo moniker of Ekin Üzeltüzenci from Istanbul and 'KOMA' is her first release on Stockholm imprint Possible Motive.

"KOMA is an album which is based on the combination of separate songs made in various times in the last two years. Songs that sometimes include unwanted noises caused by my broken sound card, songs that I left unfinished with the intention of finishing later. The sleepy and still mood that's all over the 7 tracks may be the response to the hard times that I was not able to react sober to until recently."

Koma

Ekin Fil – Speak In

PREORDER/ https://shelterpress.bandcamp.com/album/the-flower-and-the-vessel-2

Félicia Atkinson  'The Flower & The Vessel '
Shelter Press / SP110

French poet and ASMR auteur Félicia Atkinson has frequently fixated on the elusive interwoven relationship between microcosms and macrocosms – how even the quietest creative act ripples outward in unforeseen ways, a whisper with no fixed meaning. Her latest work pursues this notion in a more literal and lasting fashion, as it was crafted while pregnant on tour, in impersonal hotel rooms in foreign cities. She describes it as “a record not about being pregnant but a record made with pregnancy.” Each day and night, finding herself far from home, she asked herself “What am I doing here? How can I connect myself to the world?” The answer gradually revealed itself: “With small gestures: recording my voice, recording birds, a simple melody.”

In truth there is nothing simple about The Flower & The Vessel. The album’s 11 songs span a vast pantheon of whispering textures, opaque moods, and surreal spoken word, leading the listener through a mirrored hall of beguiling mirages. Atkinson cites a trio of French classical compositions from her childhood as formative influences on this particular collection: Maurice Ravel’s “L'enfant et les sortilèges” (“a scary opera for kids”), Debussy’s “La Mer” (for its union of narration and music) and Erik Satie’s “Gymnopédies” (as an exercise in negative space, irony without cynicism, and “melody with doubt”). There’s certainly a shade of classicism woven within these tracks, however veiled, abstracted, or unorthodox. Melancholic piano motifs repeat then retreat into a radiant frost of shivering frequencies; processed voices recite cut-up poems and interviews over delay-refracted Rhodes and Wurlitzer; iPad gamelan patterns flutter from meditative to melancholic and back again, offset by pointillist patches of delicate software synesthesia.

Although much of Atkinson’s past discography is shaped by speech and the lyricism of language, The Flower & The Vessel ventures farther into silence, absence, and voiceless wilderness. Among her sources of inspiration were “women who wonder, dream, and create vacant spaces in their art,” as well as Ikebana flower arrangements, which reflect her own relationship with listening: “structure combined with everyday noises, selecting them to make a sparse music bouquet.” Field recordings from Tasmania and the Mojave Desert murmur beneath hushed reverberations of gong, vibraphone, marimba, softly processed into an elegant emptiness, alternately eerie and serene.
 
Her mode of minimalism has long been one of reduction, riddles, and curation, but here Atkinson’s synergy feels close to apotheosis, emotive but ambivalent, a ceremony of expectation and invisible forces. The 19-minute closing collaboration with SUNN O))) guitarist Stephen O’Malley, “Des Pierres,” is one of the album’s few pieces tracked in a proper studio (Music Unit in Montreuil, France) but it broods and burns with the same subliminal majesty as the rest of The Flower & The Vessel: an ember in amber, seeds planted in shifting sands. Atkinson’s voice flickers like a flame, framed by slabs of shadowy feedback. Her process may be personal is but its impact ripples to the edges of existence: “How does the act of creation connect us, not only to history, but to the cosmic? It’s a process of taking, and then giving back. It makes us belong to the world.”

The Flower and the Vessel

Shirley to Shirley

FELICIA ATKINSON — Shirley To Shirley (SP110)

Taken from the upcoming album 'Annoying Tyrannies' on Fluid Audio...

www.fluidaudio.bigcartel.com/mailing-list

Annoying Tyrannies

Tobias Hellkvist - Annoying Tyrannies: Part 2 (Excerpt)

as a part of https://unline.bandcamp.com/album/ishi-part-3

amazing cover art by Natalie Luss
https://ello.co/organicdetropia

Born call

The spike organ or nail chello (sic) is thought to originate from an early middle Europe monastic sect, the Iscariotians. They may have used the instrument to accompany their lengthy rituals contemplating the pain of the crucifixion.  

The Iscariotians are said to have been wiped out by returning crusaders at the behest of emperor Leopold III. Other commentators have suggested that the whole story may have been a constructed  alibi for the defeated crusaders plunder and desecration of the brewery of ..Santa Quaffa...


A possible surviving 'chello' object, made from of lignum vitae and iron, resides in the Musée des Beaux-Arts de Rouen. Its interpretation is not without controversy with some critics asserting the object is nothing more than a kind of agricultural implement, though this does not explain its cruciform shape and carved decoration.

In 1972 the scholar . Roland de Févin was granted permission to investigate the Rouen Chello, explore its sound making capabilities and make recordings. his theory was that the instrument was to be played by a rosined bow.  Unfortunately de Févin's playing and handling resulted in two of the nails fracturing and so the investigation was terminated after only one day. The single recording de Févin made was never released but it was played to audiences on an European lecture tour he conducted shortly before his death in 1974. 

It has been subsequently alleged that de Févin's  investigation  coincided with the great fire at  Nantes cathedral. This lead to several occultist conspiracy theories, most notably retold in the pulp fiction novel Blood Nail-(Brownie Dane,1975) much of the plot was lifted for the Italian soft core film Sistero Orgasma (1977) where the action was switched away from a monastery to a scantily clad convent.(citation needed) 

On the film soundtrack, the sounds of the Chello were replicated by experimental electronic synthesiser the achoirorium- itself the  subject of intrigue- as its extremely high operating voltages caused the death of its creator  Luigi soon after the recording session.


This recording was made in 1980 by UK avant geographer Forster Iberix who attended several of de Févin's lectures.  He set about building a replica device and making reconstructions of the Iscariotarian mass based on a column of scribbled numbers  which appear reverso  in one of Leonardo da Vinci's codex's (Coded notebooks). The recording was released on an untitled flexi disk issued by cult French label sordide sentimental -who now deny any knowledge of its existence. It does not appear on their official discography.  Improbably- Haringey local studies library, London, has a copy in their archive. The library does not provide any method of playback for the flexidisc and items from the archive cannot be withdrawn -so some subterfuge was involved in me getting this track taped. Whilst the disk was in my possession an inexplicable number of minor disasters befell me -so I can assure you I hurriedly returned it.

disquiet0385
More on this 385th weekly Disquiet Junto project — Audubonus Instrumentum / The Assignment: Imagine a fake instrument, and make music with it — at:
https://disquiet.com/0385/
More on the Disquiet Junto at:
https://disquiet.com/junto/
Thanks to Paul Harrington for the Latin assistance.
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
https://llllllll.co/t/disquiet-junto-project-0385-audubonus-instrumentum/

The Nail Chello (disquiet0385)

from "boneshaker" [CZSZ028]

coming soon on czaszka.bandcamp.com

http://www.marklyken.com/

Mark Lyken -- boneshaker (excerpt)

Each Morning of the World #04
South American Phonographic Mornings #03/20
Puerto Saavedra ~ South Chili
Lafken Kürüf  de Julie Rousse

~~~~~~~~~~~~~

The piece - Lafken Kürüf - has been composed from recordings taken in the south of Chile in 2015. Mixing various sounds of the wind and the ocean, as well as glimpses of voices, those emblematic sounds from my stay there are composed in a short piece transcribing the powerful sonic landscape that has accompany me during the three months spent in the Mapuche Lafkenche community of Traïtraïko Leufu. The noise of the wind on the rooftop of my house and the rumble from the Pacific Ocean close by kept me from sleeping at night as i would imagine it coming out from its bed, like in the Mapuche Lafkenche mythology.

~~~~~~~~~~~~~~

Crédits
de l’album South American PhoNographic Mornings
ce titre est sorti le 6 mai 2018
Credit photo : © Julie Rousse 2018

Lafken Kürüf

LAFKEN KÜRÜF

Huggle 523 [olops]

Mastered By exm
Artwork & Design by Grid Pattern (www.gridpattern.co.uk)
Photo by Matthew Hampshire (www.matthewhampshire.com)
Music By Keiss

TR606 
released August 14, 2020
(c) Touched Revolutions

Buy Vinyl, CD, Digital

Any Thing

Splinters as a composition has a dream like quality, dark and enigmatic. Electronic noise colours the drone and bubbling soundscapes of a somewhere. Repeating musical phrases mix with recognisable sounds from life - a spoken utterance, a rumbling train. As a listener you drift with the current through misty scenes, on a journey down a river towards some marshland on the edge of an urban sprawl.

Made in response to an invitation from TACO! - an artist space in Thamesmead in South East London - Splinters documents Kate Carr’s relationship with that space, and the area of London it is located in. Over an 18 month period Kate kept a growing sonic diary of her journeys to the space from her home, her construction of work in the gallery, her wanderings around the green spaces and urban architecture, the coming and goings of visitors and the artistic material from other artists and musicians working at the space. This work is a sonic portrait of a time and a place, and the actions and events within it.


Splinters includes audio samples from concerts and exhibitions held at TACO! Featuring material from live sets by Liz Helman, Tom White, Rebecca Lennon, Pouya Ehsaei, Jonathan Higgins and Hannah Dargavel-Leafe, and audio material from the exhibitions Scratch! by George Barber, and Heavy View by Laura Yuile.

Mat Jenner, director, TACO!
--------------------------------------
Mastered by Simon Scott at SPS Mastering.
Design by Louise Mason.
A huge thanks to Liz Helman, Tom White, Rebecca Lennon, Pouya Ehsaei, Jonathan Higgins and Hannah Dargavel-Leafe for permission to use short excerpts of audio material from their wonderful live sets, and to George Barber and Laura Yuile for access to audio from their installations. 
Also massive thanks to Mat Jenner for inviting me to TACO in the first place!

Mark Lyken -- boneshaker (excerpt)

Czaszka (Rec.)

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