Francesco Cavaliere and Tomoko Sauvage embody a tactile audio visual display, radiating the colour green into sounds and painting meditative music. By transforming collected objects into invented instruments and scenography, each motif becomes a dedication to a specific situation, an anecdote or a symbol, sometimes real and other times absurd, that the artists have encountered through their travels and conversations: the Chinese myth about a man wearing a green hat, the naming convention of Japanese traffic lights, or even the imaginary chants of frolicking twin dolphins. This inspired the duo’s personal research on experimenting with raw and synthesized idiophones, stage landscape design, spontaneous field recording and organized improvisation.

For their installation and performance, Cavaliere and Sauvage assemble a green cabinet of curiosities - an instrumentarium combining water, glass, clay, bamboo xylophones, metallophones and synthesizers. Tomoko describes in an interview: “When you are actually surrounded by green musical instruments, it has a calming effect as if you were looking at a forest or mountain.” Surrounding themselves with amulets and fluorescent fluids, the duo transcend into a musical imagination that connects scores, choreography and sculpture. Motions like crisscrossing the stage, feeling the presence of a perfectly plump leaf as it strikes a glass bowl, minerals slipping through fingers, all resonate to the soothing sounds of splashing water. There’s an intuitive yet methodical nature to this conceptual approach to composition reminiscent of the fluxus art movement. The pair’s initial motif was to play Henning Christiansen’s Green Music, whose score turned out to be nonexistent. By then, their green dream was already flourishing in their mind, retracing the path of so-called environmental music from Walter Tilgner and Knud Viktor to the likes of Kankyo-Ongaku and Hiroshi Yoshimura.

Since there is a strong visual element to their work, witnessing this captivating site specific performance may be imperative in understanding the range and influence of the colour green and the impact on the sounds they create together. On ‘Viridescens’, the first release by Cavaliere and Sauvage, we are invited to experience these recordings in a more musical context. Acting like an intermediary, the duo transport us to their special planet, enlivened by animal voices, wind, and aquatic creatures dancing across a luminous aurora.

Tracks A1, B1 and B2 were recorded by
Pratik Dasgupta at the Empty Gallery, Hong Kong in 2017.
Track A3 was initially composed for the installation work
≒ AO presented as part of the festival Infra, Tokyo in 2017.
Special thanks to the Empty Gallery, Hong Kong;
Q-O2, Brussels; Yuri Landman (electric xylophones)

Composed and arranged by
Francesco Cavaliere and Tomoko Sauvage
Mastered and cut by Noel Summerville
Artwork by Benjamin Kilchhofer

Viridescens

Francesco Cavaliere & Tomoko Sauvage - Viridescens (Preview)

"George Chua’s “Evidence of Things Not Seen” has personally been a favorite album of mine for about a decade. In 2006 the title was self released by the Singapore based artist on a limited run of CDR’s and made available for direct download on his website, which is how I obtained it. I remember there was something immediately unique about the 4 pieces; specifically off the first take “Gloria”, that it felt more like the document of a living organism, rather than a piece of music. As you accrue more listens of course your pattern recognition starts to formulate and separate the musical signatures; but the piece still maintains that effervescent living form that moves without you but wills you to follow it. This past year I felt compelled to link friends into the album, however, I couldn't find any digital copy online, and moreover hardly any information on it. This startled me a bit and I got to work- By way of Social Media I was able to get in contact with George (Thanks to friends at Kitchen Label) and he happily agreed to present the album digitally with Anòmia, thus making it accessible to those who missed it the first time around." 
—David Sutton 

More info: anomia.info

Recorded between 2003–2004 using the Plogue Bidule software.

Evidence Of Things Not Seen

ANM043 George Chua — Gloria

TRANCE 184 AMBIENT DUBBING

The Aeolian Harp (also called Wind Harp) is a string instrument that is played by natural wind. It sounds like layered feedback or drones with rich harmonic textures that will change continuously according to the wind direction, strength and consistency. One day, I bought the materials at the local DIY store and built a small Aeolian Harp. I brought the harp outside on windy days, but it made no sound at all. Through trial and error, by altering the string materials, tension, and the angle against the wind, it finally produced a sound.

The harp resonates with the surrounding environment, changing from place to place. I put two lavalier microphones into each of its two holes to clearly record the tiny resonant sounds, without too much wind interference. What is intriguing to me is that the recording will inevitably include environmental sounds from near and far which are condensed and slightly modulated by the harp. In a way, I use the harp as a kind of transducer as well as sounding body to interact with the environment through the forces of the wind. The recordings themselves are ecological, meteorological and geomorphological observations at a certain time and place.


=====================================
http://www.gruenrekorder.de/?page_id=16674
http://shop.gruenrekorder.de/?full#Gruen_182

Path of the Wind | Eisuke Yanagisawa

Dekmantel Selectors 2018

Luca & Mata Hari at Dekmantel Selectors 2018

Laila Sakini - Noods Radio - Sat 18, 2020

Guest mix for faitiche's radio show on LYL - Temple of Faitiche, Nº20, 27 March 2020 

https://lyl.live/episode/temple-of-faitiche-20/

Hanno Leichtmann – Selbstbespiegelung
Else Marie Pade – Syv Cirkler
Andrés Lewin-Richter – Study No. 1
Fracture Mechanics – Pendentive
Katrine Ring – Den Politiske Håndvask 1
Boris Hegenbart – Wasser Studie
Marja Ahti – Chora
Hideki Umezawa – Still | Steel
Marcus Schmickler – Wabi Sabi (Part 4)
Boris Hegenbart – Wasser Studie
Nicola Ratti – Bn2
Daniel Majer – Tu Lip
Jan Jelinek – Framework 10 (Remix)
Mads Emil Nielsen – Buchla Sketch
Riviera Tape Stash – Strong Arm Baby
Ahnnu – Dovetail
Boris Hegenbart with Stephan Mathieu – S Anode M
David Moss – Terrain 3
James Sey / James Webb – Book Of Imaginary Wavelengths: Book 5
Mads Emil Nielsen – Framework 3 – 3
Andrew Pekler – Tuanahe

https://faitiche.de/blog/2020/03/25/temple-of-faitiche-march-2020

Temple of Faitiche 20 - guest mix

Rosa Lewis and Daniel M. Ingram discuss myth, magic, meaning, insight, wisdom, suffering, confusion, delusion, waking up, archetypes, imaginal practice, psychology, and related topics in the first of a series. Music by Rosa Lewis.

Rosa & Daniel: Meditation, Meaning, Myth And Magic Part I

-OUS Podcast No.2: Bit-Tuner / Furtherset
@bit-tuner / @furtherset

The -OUS podcast series combines excerpts of live recordings by -OUS artists, as well as guests we've been lucky to invite to perform at our shows. Podcast No.1 featured MM (aka IOKOI), and Anna Homler & Alessio Capovilla. Podcast No.2 combines an excerpt of Bit-Tuner's «Arabian Nights» live performance in Gozo/Malta with Furtherset's extended rework of «Ask Your Existential Core». 

Bit-Tuner's «Arabian Nights» project is based on field recordings from Cairo, as well as samples from tapes bought at local markets and music produced in Egypt's megacity during a residency. The recording presented here was made at «Dorothea.space» - am art space in Gozo/Malta - at a performance night where -OUS artists performed alongside local artists. A live version of «Arabian Nights» was released on tape and digitally via -OUS.

The 2nd part of the podcast presents an extended rework of Furtherset's track «Ask Your Existential Core», originally released on tape and digitally as part of his EP «To Alter and Affect». This extended version was recorded during a residency in Assisi for the Universo Assisi Festival (curated by Joseph Grima). It was performed at the top of Monte Subasio, which lies at the bottom of Mortaro Grande.


TRACKLIST
Part 1: Bit-Tuner — 24:55
Part 2: Furtherset — 19:21

CREDITS
Both performances mixed and mastered by Manuel Oberholzer
Cover by Sarah Parsons

Bit-Tuner: https://bit-tuner.bandcamp.com/album/arabian-nights
Furtherset: https://furtherset.bandcamp.com/album/to-alter-and-affect

More on -OUS: www.ous.ooo

find more music

-OUS Podcast No.2: Bit-Tuner / Furtherset

Vinny Golia - tenor, soprano & baritone saxdes
John Hanrahan - drums
 Henry Kaiser - guitar
Wayne Peet - Hammond B3 & Yamaha YC-45D organs
Mike Watt - bass

A LOVE SUPREME ELECTRIC "Acknowledgement" from "A Love Supreme and Meditations" (Cuneiform Records)

This week, special guest Allison Goldfarb gives us a collection of love-laden pop oddities that paint the world in rosy hues. Press play for an hour of tunes as gentle as a breeze and as stirring as a chance encounter with an old flame.

Tracklist: mmarzmix.com/088

mmarz 088 | allison goldfarb: all the world loves lovers

Musician, meditator, explorer of consciousness and what is possible in this life.

Rosa & Daniel: Meditation, Meaning, Myth And Magic Part I

Daniel M Ingram