Taken from El Idioma De Las Luciérnagas (Pathway007)

Federico Durand - El Idioma De Las Luciérnagas

Track taken from El idioma de las luciérnagas LP (Pathway007)
"The Language of Fireflies"

Federico Durand - El espejo de mil años

Edit taken from Not Knowing CD (Tangent001)
We are pleased to present the first release of our Tangents CD Series from Nicholas Szczepanik entitled Not Knowing. Originally released as an 18 minute piece for the Ante Algo Azul series, Not Knowing has been expanded to a 53 minute masterwork. As each minute of the work unfolds, the music blossoms and the petals unfurl to reveal a constant and evolving beauty. A slow and steady throb lulls the listener into a soft molasses; a spark is ignited, becomes a glimmer, before turning into an all-encompassing radiant glow. Dedicated to Eliane Radigue.

Nicholas Szczepanik - Not Knowing (Preview Edit)

Track taken from "Ways of Meaning" (Pathway002) Available Late May on vinyl and digital formats.

Kyle Bobby Dunn - Canyon Meadows

Preview edit of Line Drawings LP (Pathway008)
Line Drawings is rooted in the shared intentions and working methods of Cody Yantis, Nathan McLaughlin, Josh Mason, and Joe Houpert. What started as a set of exercises under the banner of A Line in the Sand now encompasses seven releases on varying media and features the work of a range of musicians and artists.
Alice Sketches (Digitalis Recordings) is a 54-minute cassette of conversations in which Houpert, Mason, McLaughlin, and Yantis consider and respond to challenges and questions posed by one another. 
The Line Drawings LP (Desire Path Recordings) then takes the cassette and refines it—these eight pieces are clear and confident musical statements born from the risk and experimentation heard throughout the Alice Sketches. 
The final facet of the project, Studies (co-released by FET Press and Desire Path Recordings), which aims to highlight the importance of collaboration and community, is a series of five 7-inch records wherein each of the four open this sonic dialog up to additional musicians: Olli Aarni, Norm Chambers, Anne Guthrie, Mary Lattimore, Brad Rose, and illustrator Chris Koelle. The end result is an exciting and varied survey of purposeful sound.

Yantis/McLaughlin/Mason/Houpert - Line Drawings LP (Preview Edit)

Preview edit of Studies 7" Series (Pathway008)

Studies (co-released by FET Press and Desire Path Recordings), which aims to highlight the importance of collaboration and community, is a series of five 7-inch records wherein Cody Yantis, Nathan McLaughlin, Josh Mason, and Joe Houpert open this sonic dialog up to additional musicians: Olli Aarni, Norm Chambers, Anne Guthrie, Mary Lattimore, Brad Rose, and illustrator Chris Koelle. The end result is an exciting and varied survey of purposeful sound.

Studies 7" Series(Preview Edit)

From "Ritual" (Pathway001). Available on vinyl LP and digital download.

Aggregate

Taken from "Ritual" (Pathway001). Available on vinyl LP and digital download.

Carving

Pathway001. Available on vinyl LP and digital download.

Incantare

Title track from Leafcutter John's new album, Resurrection(Pathway009)

A panoramic sound world of drifting vocals over a densely-processed terrain of mud-caked percussion and guitar, Leafcutter John’s new solo album, Resurrection, is a characteristically unique blend of the electronic and the acoustic, the hi-tech, the human and the homemade.
Resurrection is the sixth Leafcutter John album and his first solo release since 2006’s The Forest and The Sea CD/LP(Staubgold). In the intervening nine years, John has toured from Vietnam to Venice, appeared live with Beck Hansen and Imogen Heap, and provided the score for Crow, a major theatre project by Handspring (creators of War Horse). 

During this time, John has also maintained his permanent role as the unpredictable, electronic antagonist in Polar Bear, the twice Mercury Music Prize-nominated, genre-defying jazz band.
This new record marks fifteen years of releases by Leafcutter John. Born John Burton in Wakefield (Yorkshire, England), his highly original musical voice was first spotted by Mike Paradinas, label boss of Planet Mu Records. Over the course of his first three albums (2000-2003), John established and developed his idiosyncratic London-based studio, and his skills as an inventor of unusual instruments and extraordinary music software.
Resurrection begins with the sound of a single bell, in homage to one of John’s major influences, Bernard Parmigiani’s De Natura Sonorum (1976). From there, the album unfolds over five cinematically varied tracks, “like floating above a world in constant flux,” in John’s own words. In fact, aerial photographs of the Japanese tsunami of 2011 were a direct inspiration for the record.
“I would create complete, fully-formed compositions,” says John, “then later, I’d come back to them, playing the part of
the destroyer, scraping and smearing away elements, weathering, piling up and re-ordering them, as if they’d been hit by a natural disaster.”
Not content with the usual tools available to the electronic musician, John has created innovative new systems and techniques for both live performance and production. This includes a light-controlled instrument that allows him manipulate his live sound through gesture, flickering candles, flashing torches and pyrotechnics. For the track “Gulps,” John coded special software to layer huge swathes of sound. Using a recursive system, he created 7.1 billion layers of a recording of the North Sea, one for each human alive on the planet at the time of writing.
Featuring a guest appearance by Shabaka Hutchings (Sons of Kemet), “Gulps” is a poignant demonstration of John’s
approach: Hutchings’ intimate clarinet is gradually engulfed by a (literal) ocean of sound. This is sculptural sound design
where technological innovation is always at the service of the emotional impact of the music: deeply human at its root, and
mind-expanding in its ambition.

Desire Path Recordings
www.desirepathrecordings.com | leafcutterjohn.com

Credits
Written and produced by Leafcutter John, with Varpu
Kronholm playing additional percussion on “I Know You
Can” and Shabaka Hutchings playing Clarinet on “Gulps.”
“Endless Wave” contains elements of “Forest Of Spades” by
Strings Of Consciousness, used with permission.
Mastered by James Plotkin
Photography by Max Baillie
Design by Chris Koelle, Leafcutter John, and Varpu Kronholm

Distributed by Revolver

Leafcutter John - Resurrection

Taken from PERILS - S/T (Pathway010)
PERILS is Benoît Pioulard and Kyle Bobby Dunn.

Mutual admirers of each other’s work, Thomas Meluch (Benoît Pioulard) and Kyle Dunn (Kyle Bobby Dunn) endeavored to put together a collaborative recording that ruminates on painful realities, disappointments, and transitioning to new homes, in the hopes of finding a coping mechanism to bring them through to the other side.
PERILS began auspiciously in 2012 at transitional points in these artists’ lives. Kyle was living in a small town called
Belleville, Ontario trying to complete Kyle Bobby Dunn and The Infinite Sadness (Students of Decay) and coming to grips
with the fact that this great endeavor was at its end. Given the enormity of the record and the emotionally and physically
exhausting process of recording the album, Kyle found himself drained with unforeseen questions and confusions. Working only at night, Kyle immersed himself into this newfound nocturnal work, finding a path in the midst of wondering. Thomas, meanwhile, was in a state of literal transition: uprooting from the UK and relocating to Seattle during the recording process of PERILS. In a state of flux, nearly drowning under the anxieties of living on uncertain ground, Thomas channeled these emotions into musical escapades. Thomas recorded in his spare moments, sending sonic puzzle pieces one by one to Kyle, who would in turn explore the musical sentiments Thomas had shared, adding his own billowing sounds to the seething mix.
The ten pieces created for this release are culled from a poutine- and whisky-fueled trudge through the dark corridors of an as-yet undiscovered or possibly imaginary mystic temple. Commencing with the shimmering guitar and tape loops of “Colours Hide My Face,” the album crawls out of the grooves with a slow-churning turmoil, coaxing the listener to embark along its path. The dirge-like guitar clang and vocals of “(Dead in the) Creekbed Blues” could be an 18th century blues standard emitted from a buried radio. On PERILS, Thomas Meluch and Kyle Bobby Dunn lock arms and together chart the upheaval in their lives to bridge the liminal gulf between the once-was and the soon-to-be.

PERILS - Flaw

PERILS - Leveled

Taken from Benoît Honoré Pioulard Plays Thelma (Pathway003)


Benoît Honoré Pioulard - Calder

Preview Mix from Day of the Demons, the long-awaited collaborative LP by Charlemagne Palestine & Janek Schaefer.
Through the unending fog and beyond the impassable door, a voice emerges. Charlemagne Palestine, writhing in uncontrollable terror, moves to ward off the demons for the sake of the listener by howling through the void.
Janek Schaefer bellies a haven, a cocoon for the listener to hide in, to grasp some semblance of life that remains and hold on to it dearly. Bells chime ominously to help dispel the haunting and are yet another stark reminder of the impending doom.
What hath wrought them? What can be done against them? On this day, Charlemagne Palestine and Janek Schaefer have faced the darkness surrounding us, traversed through the fog, waded into the murky waters, and encountered demons that have surfaced from the dark recesses of the earth. Herein lies the hope that was gained through facing the horror that was left unchained.

Charlemagne Palestine & Janek Schaefer - Day of the Demons [LP Preview Mix]

Nite Lite - Springingtime

Nite Lite - Equinox Reflections

Edited Version of You'll Be Fiiinnne, taken from The Withdrawing Room LP (Pathway006)

Seek solace. Be still and drift. Withdraw and be there. There. Inside. A chair awaits. A beginning built from an ending, from leaving, from afar. In times such as these, The Withdrawing Room is a safe haven to leave behind all that weighs heavily and surrounds us. We remark how comfortable the chair is, how exquisite the view is outside the window, the aroma, the breaths to be taken as you become aware of the minutia all around you and the sounds emanating from Mary Lattimore’s harp, warming your feet, your hands, your heart. Breathe. Previous collaborations have seen Mary matching wits with such esteemed luminaries as Thurston Moore, Meg Baird, Kurt Vile, Ed Askew, Fursaxa, and Jarvis Cocker. But for this debut work, Mary sequestered herself in a room, much like this one, to kindle three distinct works for keeping the listener company as he or she enjoys the view. The nuanced notes of the harp strings sing and reverberate amid subtle electronics courtesy of Jeff Zeigler on the 24-minute long piece “You’ll Be Fiiinnne;” “Pluto the Planet” meanders at a slow and steady pace as the sun makes its way across the sky and the gentle plucks of the silk and steel resonate within, beyond; the closing chaos of “Poor Daniel” charts a recklessness that embraces the listener as he or she quietly makes their way out of the room to tackle the world anew.

CREDITS + INFO

Recorded and mixed by Jeff Zeigler at Uniform Recording
Mastered by James Plotkin
Artwork by Becky Suss – 76 Meadow Woods Road, oil on linen, 72 x 120 in
Design by Chris Koelle
Mary plays a Lyon & Healy Style 30 harp and Line 6 looper
Jeff plays the Korg Mono/Poly on Track 1

desire path recordings

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