DRONE

Observation of Breath

And A Twist

A Binding

The Torso

Observation Of Breath

Panoptikon is a suite of vocal & electronic music composed by Maria W Horn for an installation in the disbanded Vita Duvan panoptic prison (The White Dove Prison) in Luleå, Sweden.

Panoptikon

Haec Est Regula Recti

"sunder" a musical conversation with esteemed folk ambient Benoît Pioulard

https://offthesky.bandcamp.com/album/sunder

Offthesky &  Benoît Pioulard - Fed On Lilies

C.Lavender
"Rupture in the Eternal Realm"
CD ltd 200

On her third full-length album, C. Lavender delves into her
experience with a profoundly impactful Buddhist meditation
centered in the sacrifice of the self as a source of liberation.

“Rupture in The Eternal Realm” is a musical reinterpretation and
compendium to C. Lavender’s experience studying the Tibetan
Buddhist meditation practice known as chöd. The practice
traditionally involves musical instruments including drums
(ḍamaru), trumpets (kangling), bells and chanting. Rather than try
to recreate the practice's musical ritual, C. Lavender used it as a
point of departure for reflecting on her inner connection with the
meditation, one which she continued to dive into throughout the
pandemic. The song titles are taken from lines within the
traditional chöd chant, which is akin to a musical composition and
serves as a visualization guide throughout the meditative process.
“Rupture in The Eternal Realm” creates a new paradigm in the
grand tradition of women electronic music composers such as
Laurie Anderson, Éliane Radigue, and Pauline Oliveros connecting
forward-thinking music with Buddhist principals.

The album features recordings made on Buchla 200 synthesizer,
Haken Continuum, gongs, voice, brainwave modulating tones, EVI
and field recordings from the Karma Triyana Dharmachakra
Buddhist temple in Woodstock, NY.

released June 12, 2024

Cover design: Robert Beatty
Mastering: Taylor Deupree

C. Lavender - Melt Into Light

Purchase: bit.ly/austyn-wohlers-bodymelt
Catalog #: GN76
August 14, 2024
CASS+DIGI

As a member of Tomato Flower, Austyn Wohlers creates free-range art-pop that’s littered with atonal tendencies, rhythmic detours, and emotional indulgences for a wholly listenable barrage of sound. Now, the Baltimore-via-Atlanta musician, composer, and author joins the Geographic North family with ‘Bodymelt in the Garden of Death’, a richly enigmatic affair that explores harrowingly relatable themes in a sensory overload of aural viscera.

As Wohlers explains, “I recorded most of it during a pretty intense year for me -- the title [‘Bodymelt in the Garden of Death’] is a phrase that came into my head while I was hugging my mom in Atlanta the summer after an extreme medical crisis I wasn't sure she’d make it through. She's a gardener and we were surrounded by her flowers. It was sunset and had just rained and all the colors were lush and hot and glistening.”

Opener “Grasshopper Heaven'' perfectly presents Wohlers’ tonal palette, permeated with a cacophony of cicadas, floating dust, and softly serrated textures. Seemingly a soundtrack of the uncanny, the song presents a despaired walk through the moonlit woods that rivals Wolfgang Voigt’s perfect permafrost sheen as Gas. The rustic psychedelia continues on “An Angel’s Emerald Wing”, a shimmering squall of celestial noise that features frequent Wohlers collaborator Ruby Mars on harp. A-side closer “Life-Near-Others” offers a kaleidoscope of light and color buried under a fertile layer of topsoil and delicate delay.

“Preagricultural Summer” is a symphony of stabbing electronics, flourished feedback, and clanging metal, while “Attachment Illusion” seemingly inverts the action into a howling chimera of solitude. Feeling like a tidal wave of sorts, “How Heavy the Slow World” swells into its epic frame through a cycle of maxed-out tones and dis-harmony, its swirling storm of sound plowing through everything in its path and changing the landscape in its wake. Album closer “Meadow of Tears” culls a siren-like setting that’s both unsettling and comforting, a nod to the dire dilemma we all inevitably face.

In the end, ‘Bodymelt in the Garden of Death’ is an unassuming triumph of sonic bereavement, transmitting and translating deeply emotional uncertainty into wholly consuming sounds.

DRONE

Daniele Baccioli