Waiting for The Great Reset

Roger Eno - "This Floating World" LP/ with CD - out November 10th, 2017
www.recitalprogram.com/this-floating-world
www.recitalprogram.com/purchase

This Floating World

Purchase

Roger Eno - "Silk" from This Floating World (R38)

In the main Clock Tower the floor is very very very old...
performed by Elizabeth Carlyon

The Noisiest Floor - Sighișoara, Romania

A spellbinding tribute from a friend and admirer. To mark the sad passing of composer Jóhann Jóhannsson and celebrate his unparalleled catalogue, FatCat Records and 130701's Dave Howell (who signed some of Jóhannsson's best loved work) has put together this hour-long mix where snippets from interviews and films weave in and out of Jóhannsson's inimitable compositions.

More info here: http://crackm.ag/2BO2ADW

Music by Jóhann Jóhannsson – Mixed by Dave Howell (130701 / FatCat Records)

Sarah Davachi - "Let Night Come On Bells End The Day" LP with CD (R45)
www.recitalprogram.com/let-night-come/
www.recitalprogram.com/purchase/

R45 Sarah Davachi - "Buhrstone" from Let Night Come On Bells End The Day  LP w/ CD

This is my longest ever set at almost an hour and it is fairly different as it contains a lot of layers taken from material I composed six or seven years ago, which was cool because I realised I actually made some quite nice things back then! 
Recording courtesy of Berlin Festspiele. 
With thanks to Berlin Festspiele, Berlin Atonal and Camille Blake for the photo.

Set -- The Long Now, Kraftwerk Berlin, March 2018

Disoriented drunken drones drawn from the work of long dead composers The Brightest Winter Sun is an icy wonder built from longing, fretful wanderings and slowly unfolding endings. 
These are works which crawl through changes of textures and lurch into almost non stop repetition of one phrase. Like fragments of sound remembered by a drunk insomniac at the breaking of a new dawn, not knowing where it came from or when or where he or she heard it. 

The Brightest Winter Sun Is a collaborative project by Iranian artists Siavash Amini And Umchunga. The focus of the project is reinterpreting the piano compositions of the late 18th century and 19th century composers by depriving these compositions of one their most prominent characteristics namely thematic and tonal development and progression. The track names point to the dates on which the composer who served as the inspiration, died.

1896 - Siavash Amini and Umchunga - from The Brightest Winter Sun - shipping August 31

‘In the water’ is the first glimpse at Sea Glass, the eagerly awaited new album from esteemed Melbourne artist Grand Salvo. Sea Glass is out October 5 on Mistletone via Inertia. Pre-order vinyl/CD here: www.mistletone.net/grandsalvo

The first excerpt from Sea Glass is a baroque-folk rumination on memory, loss, the passing of time and death: “Oh say you love me before I go / will you remember me when I’m gone”. Someone walks slowly along the beach, though it soon becomes apparent that this is a beach of dreams, where everything is allegory and symbol. “I wander slowly along the shore / the tide is high and the sun is low”; a childlike attempt to articulate the endless flow of time. 

Paddy Mann has made six albums under the Grand Salvo moniker: (1642-1727), River Road in 2002, Temporal Wheel in 2005, Death in 2008, Soil Creatures in 2009 and Slay Me In My Sleep in 2012. His songs can be both sparse and heavily orchestrated, with each album focused on a particular idea or theme. Death was a story-book affair, with narration and intricate programmatic arrangements; Slay Me In My Sleep, an ambitious narrative-based song cycle co-produced with Nils Frahm, was shortlisted for the Australian Music Prize. All Grand Salvo’s albums have received lavish critical acclaim, winning Album of the Week on RRR (twice), Radio National, PBS, RTR and 4ZZZ. 

Sea Glass is Grand Salvo’s seventh album, and his Mistletone debut. This richly allegorical album explores how a single, vivid memory can shape who we are; resurfacing and altering our thoughts and recollections as the years go by. The album’s very structure is an approximation of how such a memory is forged; each song radiates out from a seed memory which unfolds like a lotus jewel in Field of Flowers, the second-last song and the only “straight” narrative song of this remarkable album. The album then closes with Standing On The Sea, a dreamlike journey on the beach that uncovers “a shard of sand smoothed emerald glass / and a change in the light”, layering the dreams of childhood and the memories of adulthood into a woozy contemplation of eternity and the cyclic, ever evolving nature of memory.

Sea Glass was recorded using a number of non-western instruments including qanun (Persian dulcimer), kora (African harp), koto (Japanese stringed instrument) and Indian percussion, with a heady female chorus (Laura Jean, Lisa Salvo, Hannah Cameron, Michelle Surowiec) reprised throughout the album, woven through the narrative like a recurring dream.

Grand Salvo has performed throughout Australia and internationally, making appearances in London, New York, Barcelona, Berlin, Paris and throughout Japan. He has shared stages with artists such as Fleet Foxes, Joanna Newsom, Bill Callahan and Sharon Van Etten, and has produced and arranged live shows with up to 25 musicians at Melba Hall, Melbourne Recital Centre and The Arts Centre Victoria. His collaborations include Daughters Fever (2015) with Peter Knight, Curious Animals (2016) with baroque violinist Lizzy Welsh and Tamara Saulwick’s Helpmann award-nominated theatrical work Endings (2015).

Sea Glass

Grand Salvo - In The Water

Things Fall Apart - demo

Cylinder

"I've been working on material recorded at the former UK Ministry of Defence site Orford Ness on the East England Suffolk coast. 
Since the Ministry of Defence left in 1993, the buildings have been overrun by nature.

The excitement felt by Bletchley Park's wartime code breakers was echoed here too: Britain's greatest scientific brains, along with 400 civilians and thousands of unacknowledged Chinese migrant workers all worked on developing the UK’s first nuclear weapon.

Today the place gives us a sense of what a post-apocalyptic environment might look and sound like. Air ducts once now burst open with the packed nests of roosting birds. There are seagulls 'playing' the atomic weapons laboratories with their cries; baby jackdaws duetting with gravel footsteps; metal stairwells transformed into aeolian harps. " Iain Chambers, Orford Ness.
-------------------------
About Iain:
Iain Chambers is a composer and producer whose music often deploys field recordings and location sounds as musical material.

Iain's work is heard live in concerts, radio, sound installations and multimedia. His feature-length symphonies of industrial sounds have been commissioned by BBC Radio 3, WDR Cologne and ABC Australia.

In 2019 Iain launched the independent record label Persistence of Sound, presenting new musique concrète and field recordings.

Iain is a founder member of Langham Research Centre, an electronic music ensemble using obsolete Cold War era technology to create new music. The group also create new realisations of 20th century electronic works by composers John Cage, Alvin Lucier and Christian Wolff using an unusual instrumentarium: analogue tape, sine-wave oscillators, analogue radios and phonograph cartridges. LRC perform internationally, and released “Tape Works (Vol. 1)” on the Nonclassical label in 2017.

All tracks by Iain Chambers
Mastered by Nima Aghiani
Photography: Ian Rawes
Design: Kate Carr

Secrets of Orford Ness (excerpt) - Iain Chambers out October 27

We must all act together now (excerpt)

New album ‘Can You Hear Me’ out on Flaming Pines on 22 November 2024 attempts to find common ground between a young human and threatened birds in this time of the Anthropocene and recreates the calls of endangered Australian bird species from recordings of the vocalisations of a four-month-old boy, accompanied by a lonesome, wistful autoharp. Previous works ‘Waiting for The Great Reset’ (Flaming Pines, 2020) addresses scale, degradation and renewal; 'Suddenly woken by the sound of stillness' (Flaming Pines, 2017), built from recordings made along the Trans-Siberian Railway; 'Transitions' (3LEAVES, 2015), made from fragments of sound from everyday life; 'Domestic Cinema' (Wood & Wire/New Weird Australia, 2013), composed from recordings of archaic equipment at the Telecommunications Museum in Melbourne, household objects, typewriter and drum kit; and ‘Internal Temporal Order’ (Sensory Projects, 2011), which was made in 24 hours using a standard acoustic drumkit, metallophone, brooms and brushes, and bits and pieces as part of The 24-hour Drawing Project. Also co-founder and drummer of veteran Melbourne instrumental band ‘This is Your Captain Speaking’, who have released 3 internationally acclaimed albums over the last 10 years, toured Europe and the UK, played the Sydney Opera House and signed to Resonant Records (London).
Email: pulse_modulator@hotmail.com

We must all act together now (excerpt)

david_evans

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