http://www.jjfunhouse.com/catalogue/jj023

Music by Emanuel Sundin | Recorded at the Sing-Sang studio in Malmö, January 2019– May 2020 | Mastered by Ruud Lekx at Rude 66 | Artwork by Jj funhouse | Published by Jj funhouse, 2021 JJ023 © All rights reserved

Prins Emanuel - Vhassal (JJ023 preview)(Releasedate: 12.04.2021)

Taken from forthcoming album 'Only Love From Now On' - out 25th Feb via Smalltown Supersound. 
Pre-order here: 
https://carmenvillain.bandcamp.com/album/only-love-from-now-on

Written and produced by Carmen Villain.
Mastered by Beau Thomas.

Subtle Bodies

Extract from 'Image Langage' (SP140)
Out June, 24th 2022 on 2xLPs, CD, digital download.

Order: https://feliciaatkinson.bandcamp.com/album/image-langage

—
Opening the window, I look at the light, it connects me to something more vast.

Felicia Atkinson’s music always puts the listener somewhere in particular. There are two categories of place that are important to Image Language: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record—Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy—the landscape is what is waiting for you when you leave the house, and vice-versa. Each threatens—or is it offers, kindly, even promises?—to dissolve the other. Recognizing the normalization of home studios these days, she revisited twentieth-century women artists who variously chose, and were chosen by, their homes as a place to work: the desert retreats of Agnes Martin and Georgia O’Keefe, the life and death of Sylvia Plath. Building a record is like building a house: a structure in which one can encounter oneself, each room a song with its own function in the project of everyday life.

At times listening to Image Language is immediate, something like visiting a house by the sea, sharing the same ground, being invited to witness Atkinson’s acts of seeing, hearing, and reading in a sonic double of the places they occurred. In an aching moment of clarity in “The Lake is Speaking,” a pair of voices emerge out of the primordial murk of piano and organ, accompanying the listener to the edge of a reflective pool that makes a mirror of the cosmos. “I open my feet to fresh dirt, and the wet grass. I hold your hand. You hold his hand. In the distance without any distance. The comets, the stars.” At other times, listening to Image Language is more like being in a theater, the composition a tangle of flickering forms and media that illuminate as best they can the darkness from which we experience it. On “Pieces of Sylvia,” a noirish orchestra drones and clatters beneath and around a montage of vocal images, stretching the listener across time, space, subjectivities. Atkinson says that Image Language is like the fake title of a fake Godard film. There is indeed something cinematic about Atkinson’s work—not cinematic in the sense that it sounds like the score for someone else’s film, but cinematic in the sense that it produces its own images and language and narratives, a kind of deliberate, dimensional world-building in sound.

Image Language is built from instruments recorded as if field recordings, sound-images of instruments conjured from a keyboard, instruments Atkinson treats like characters, what she calls “a fantasy of an orchestra that doesn’t exist.” And then, speaking of Godard, there are the monologues, operating as both experimental-cinematic device and a literary style of narration. Voice can be a writerly anchor or a wisp of a textural presence. Atkinson’s capacious and slippery speech plunges into and out of the compositional depths, shifting shapes, channeling the voices of any number of beings, subjectivities, or elements of her surroundings—not unlike her midi keyboard, able to speak as a vast array of instruments.

Image Language is an environmental record, in the vastest sense of the world. It is about getting lost in places imagined and real; it registers, too, the dizzying feeling of moving between such sites. It puts forth a concept of self that is hopelessly entangled with the rest of the world, born of both the ache of distance and the warmth of proximity.

— Thea Ballard, 02.2022

Image Language

Becoming a stone

FELICIA ATKINSON 'Becoming a Stone' (SP140)

Flow | 流れ  coming february 10th 2023 through Aguirre Records
PRE-ORDER digital here: https://dedren.bandcamp.com/album/flow
12" Vinyl available here: https://www.aguirrerecords.com/collections/aguirre-records/products/david-edren-h-takahashi-flow-lp

Music By H.Takahashi and David Edren.
 Recorded 2020-2021 Tokyo|Antwerp.
 Mixed & Edited by David Edren at LittleForest, Antwerp. 
Mastered and cut by Anne Taegert at Dubplates & Mastering. 
Artwork by Vica Pacheco | Sleeve Design by Yudai Osawa.

Flow | 流れ

David Edren & H.Takahashi - Shift Register | シフトレジスタ

Sondre Lerche - Turns Out I'm Sentimental After All (Roméo Poirier Rework)

Artist: Groupshow
Title: Greatest Hits
Cat#: faitiche 29
Release: Jan 27th 2023 (digital single: Nov 25th 2022)
Format: LP/DL

Faitiche presents Groupshow’s Greatest Hits: The ten tracks on this first vinyl album by Groupshow (Hanno Leichtmann, Andrew Pekler, Jan Jelinek), recorded between 2005 and 2018, document concert recordings and studio improvisations by the trio.
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In improvisation there are no mistakes, only missed opportunities. Groupshow found their first opportunity in the routines of live performance and they used this opportunity to break with these routines. The trio consisting of Jan Jelinek, Hanno Leichtmann and Andrew Pekler came together in the context of Kosmischer Pitch, playing live versions of the music from Jelinek’s 2005 studio album of that name. During this project, the musical interaction between the three participants quickly emancipated itself from the original programme, departing from fixed roles and finding a distinct form in constant change.
Groupshow sessions – rehearsal, concert or recording – are always improvised. The interplay of the various sound sources, converging from the directions of “electronics”, “percussion” and “guitar”, does not follow the Krautrock wave logic of crescendo and morendo. Jelinek, Leichtmann and Pekler have established a method of transparent density in which links and breaks are not concealed but remain audible. The music works through attraction and repulsion, with a loosely organized structure that always leaves enough room for the next intervention.
The principle here, repeated even in the smallest units, is that of duration. Groupshow think of their music in terms of an installation: no starting point, no dramaturgy, and ideally no end. Concerts take place not raised up on a podium, but in the middle of the room on a level with the audience, who only enter the space with the musicians and instruments once their interaction is already underway. In 2008, Groupshow used this approach to create a live soundtrack for Andy Warhol’s film Empire, over the full length of eight hours and five minutes.
Recordings in general and the “Greatest Hits” format in particular are another key aspect of this ongoing work on a collectively modulated continuum. The ten tracks on this first vinyl album by Groupshow, recorded between 2005 and 2018, document the ephemeral capturing of opportunities that were not missed. Extracts and essences of an endless movement of searching. The sprawling form of the whole, suspended in succinct, separate units.
To paraphrase Lao Tzu and Roland Barthes, one might say: Once their work is done, they are no longer attached to it. And because they’re not attached to it, it will remain. (Arno Raffeiner, 2022)

Groupshow: Music For A Plank Press

Artist: Eli Keszler, Roméo Poirier
Title: Remix + 1
Cat#: faitiche 28+
Release: Jan 13th 2023
Format: DL

Roméo Poirier adds another track to his last year's album Living Room: "Les encombres" is anything but what the title suggests. A compelling addition to Roméo's mysterious cabinet of curiosities. 
Eli Keszler remixes "Statuario" - the album's opening track - and transforms it into an atmospheric setting that seems to have sprung from a magical vaudeville act.
Written and produced by Roméo Poirier & "Statuario" remixed by Eli Keszler, artwork by Tim Tetzner, mastered by Giuseppe Ielasi.

Roméo Poirier, Eli Keszler: Statuario (Eli Keszler Remix)

From the forthcoming album SG - For Lovers Only / Rain Suite (Faitiche 33)

SG - Western Affect

instagram.com/a2rbeatz/

a2rbeatz.beatstars.com

ISLANDS - DANCEHALL LOOP 98 BPM  @A2RBEATZ

All 5 tracks on ​12" Matas Flores y Algo Más ​were jammed and recorded between late 2018 and early 2019, with Juno 106, Yamaha DX7, Korg Wavedrum and Pearl SC40. 
A1. Self Similar Melodies
https://tulips-de.bandcamp.com/

Sound enthusiast and percussionist Tulips, plays with NASSSAU, as P.VEE with TRJJ (Stroom), and MONTEL PALMER.

Tulips - Self Similar Melodies

Get this + the original here https://carmenvillain.bandcamp.com/

So High You're Mine (2020 Rework)

🌱 'Relativiteit Van de Omgeving' (NNF)
🍂 'Flow | 流れ'  w/ H.Takahashi (Aguirre)
🌫 Hare Akedod founder
and 1/2 of Spirit & Form (w/ Ōgon Batto)

David Edren & H.Takahashi - Shift Register | シフトレジスタ

David Edren

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