Servant (chaotic orchestra remix)

This music is taken from the 'Jane Doe' exhibition by artists Dakota Gordon and Stellar Leuna which was featured at the Goodspace Gallery in Sydney, Australia in April 2016. 

"Investigating the horror trope of 'the final girl' and female protagonists in film, the artist's explore themes of adolescence, innocence and isolation in a series of ink illustrations and photography. In 'JANE DOE', Leuna and Gordon approach identical subjects and recreate them from their unique perspective using their respective mediums, demonstrating the eccentricities of each artist's point of view."
credits
released May 5, 2016 

Music by Sam Haven
https://samhaven.bandcamp.com/

Photography by Dakota Gordon 
www.dakota-gordon.com 

goodspace.co/previous-exhibitions/#/new-page-19/

Adolescence

"90 Degrees" is the outcome of a collaboration between DSX and Sid Lamar. 4 crude newbeat-tinged instrumentals accompanied by sparse, yet direct vocals blend into urgent Proto-Wave with a sharp Body Music approach.

Mastered and cut by Matt Colton at Alchemy Mastering, London.
12" out on 29th May via Ready Made Distribution, Berlin.

DSX & Sid Lamar - 90 Degrees (Veleno Viola 007)

Written and Recorded by Sam Haven
Released December 10, 2016

https://samhaven.bandcamp.com/album/into-rivers-unknown

The Emptiness

AGORAPHOBIA

from 'S/t' [CD|LP|DIGITAL]
Denovali Records · den294
available on all formats at [http://denovali.com/nanookofthenorth]

Following a stunning recent Boiler Room performance, Nanook of the North take a deep sonic and conceptual trip northbound on their enchanting, eponymous debut album, via Denovali Records.

Nanook of the North are Stefan Wesołowski and Piotr Kaliński (also known as Hatti Vatti) - two acclaimed Polish musicians whose simpatico merging of compositional roles are blended as seamlessly as their use of acoustic and electronic sounds. Recording sessions broadly found Stefan playing violin and piano parts with additional synth touches and Piotr taking care of electronics, more synths and the final mix.

Upon being invited by the Sopot Film Festival next to their hometown of Gdansk to perform an improvised score to a film screening, the duo chose Robert J. Flaherty’s classic 1922 silent movie of the same name - ‘Nanook of the North’. Keen to maintain and nurture the initial ambient essence of the film, the duo travelled to Iceland where they recorded the album in Reykjavík and later mixed it in Greenland.

Despite the icy expansive isolation captured from the movie, the album is also transferrable in scenario and evocation, equally omitting the dangerous allure of dystopian cityscapes, or even the 80s sci-fi horror menace of Maurice Jarre, Howare Shore and Jay Chattaway.
 
‘Nanook of the North’ runs the gamut of images, scenarios and atmosphere akin to scenes in a film. Opening with a window into the unknown, the mood carries from the darkly foreboding, ‘Siulleq’ into the dank, dread-filled kosmische of ‘Tulleq’ over the slow nocturnal drive through a techno metropolis of ‘Afternat’ to the gargantuan foreboding awe of ‘Qulingat’, which seems to suggest the story is far from over.

Stefan Wesołowski is a violinist and composer best known for work with Jacaszek, his score to the BAFTA-nominated, Oscar-shortlisted Marlon Brando docu-film ‘Listen To Me Marlon’ and for his rapturous, critically acclaimed album ‘Rite of the End’.

Piotr Kaliński (also known as Hatti Vatti) - is one of the Polish underground's most vital figures. Renowned for for his analogue-focused sounds, this experimenter/explorer has been on a decade long excursion through vast and heterogeneous modern electronic realms.

Previous praise for Stefan Wesolowski:

        “Haunted, cavernous and horribly satisfying” Uncut

        “Awe-inspiring music that soars through dread, sorrow, joy and every emotion in between. A stunning and poignant inward journey” XLR8R

        “Instrumental evocations of loss and Decay, and monumental progressions through cavernous spaces. Wilting melodies are hemmed in by resonant menace, dissipated through drifting clouds of bowed tones or punctuated by ominous percussive thuds” The Wire

        “This is spiritual music; we hear this in the deliberate pacing, the yearning of the violins, the harmonic highs - but also in the droning lows, the earthly electronics, the tactile immediacy of the interface between heaven and earth” A Closer Listen


Previous praise for Hatti Vatti:

        "The record sees the producer combining a vast array of samples with his set-up of hardware and other tools, creating a record that covers numerous sounds, operating at times between ambient and bass-heavy genres such as footwork and juke” The Quietus

        “Hatti Vatti is an underground hero amongst an intricate scene. A musician with fine tact and attention to detail, pared back to its barest essentials. Well-crafted and listenable" The Ransom Note

Nanook of the North

Nanook of the North - Arfernat

from 'The Will to Burn' [CD|LP|DIGITAL]
Denovali Records · den292
available on all formats at [http://denovali.com/scrapsoftape]

Ever since their beginnings as a band in 2000, Scraps Of Tape have been about one thing. The music. Letting the music live and breathe and take both the band and the listener on a journey on it’s own terms. Highs and lows, twists and turns, the music of Scraps Of Tape churns and vibrates. It does not sit still in the same place for very long but reaches forward and outward, always searching for that next hidden passage to another place, another room.

The Will To Burn, the bands sixth album, was recorded in an old school house in the countryside of middle of Sweden together with producer Kristofer Jönson (Jeniferever) in the winter of 2016/2017. Over a couple of days the basic tracks took form next to a crackling fire in the old class room and later renowned producer, engineer and audio expert Magnus Lindberg (Cult Of Luna) mixed and mastered it.

The result is probably the most focused and direct album ever to be released by Scraps Of Tape. Through it’s mere six tracks, The Will To Burn bursts into life like a matchstick and shines a flickering, hopeful flame in the darkness.

The opening one-two punch of “The Horologer” and already-live-favourite “Silent Wave” set the tone with their gritty yet beautiful guitars, booming drums and honest vocals, leading into the hushed opening of “Negative Architect” and then moving on to the energetic broken shoegaze/indierock of “The Lengthening Grey”.

The 10-minute “Experiments In Shame” harkens back to the earliest days of the band, where long intense instrumental passages wind in and out of and around each other to finally end up in a tender yet unsettling place. This sets the stage for “Hands On Stone”, which sums up The Will To Burn perfectly. Going from quiet and contemplative to huge and ferocious, the music seems to self ignite in the end, closing the album and searing it into your head. The Will to Burn will see the light of day in February 2018 on Denovali Records.

The Will to Burn

Scraps of Tape - Silent Wave

Japanese vocal performer Hatis Noit will release her enigmatic EP Illogical Dance via Erased Tapes worldwide on 23rd  March 2018. The arresting 4-track record creates unique song-worlds with transcendent vocal interpretations that at once deconstruct and recombine Western Classical, Japanese folk and nature’s own ambience atmosphere. Illogical Dance also features Björk-collaborators Matmos, who were so impressed with Hatis Noit’s recordings, they volunteered to edit the lead track Illogical Lullaby. 

Hailing from the distant Shiretoko, a small town in Hokkaido, which is the largest island in north Japan, Hatis Noit’s accomplished range is astonishingly self-taught, inspired by everything she could find from Gagaku — Japanese classical music — and operatic styles, Bulgarian and Gregorian chanting, to avant-garde and pop vocalists. The sounds she created on Illogical Dance, co-produced by Haruhisa Tanaka and Matmos, bring to mind the experimental vocal patterns of Meredith Monk with the attentive production of Holly Herndon.

It was at the age of 16, during a trek in Nepal to the Buddha’s birthplace, when she realised singing was her calling. While staying at a women’s temple in Lumbini, one morning on a walk Hatis Noit heard someone singing. On further investigation it was a female monk singing Buddhist chants, alone. The sound moved her so intensely she was instantly aware of the visceral power of the human voice; a primal and instinctive instrument that connects us to the very essence of humanity, nature and our universe. 

The name Hatis Noit itself is taken from Japanese folklore, meaning the stem of the lotus flower. The lotus represents the living world, while its root the spirit world, therefore Hatis Noit is what connects the two. For Hatis Noit, music represents the same netherworld with its ability to move and transport us to the other side; the past, a memory, our subconscious. It is the same for Illogical Dance, a set of transformative songs that taps into our most primal instincts. 

“The human voice is our oldest, most primal yet most powerful instrument. I use it to describe nature’s many sounds, a language that isn’t logical. Yet it forms a beautiful conversation that isn’t restricted to words like the human language is. I want my music to remind us of that.” — Hatis Noit

Wanting to interpret and mimic the sounds Hatis Noit hears in nature, Illogical Dance is as unpredictable, beautiful and mysterious as the world around us. Each track is made up from multi layers of vocals, all improvised and without words, before being carefully pieced together. Astonishingly no samples are used throughout, even the sound of crushing leaves came from Hatis Noit’s own vocal chords. The result is a stunning array of sound sculptures that see her switching between multiple styles with great ease. From the sweet operatics on Illogical Lullaby, the manipulated vocal loops duplicating electronic production on Anagram c.i.y. to the primordial chanting call to arms of Angelus Novus, a 10-minute odyssey that features whispering and leaves crunching, it showcases Hatis Noit’s full range and introduces a truly original artist. 



After participating in a memorial and appreciation ceremony tailored to the withdrawal of the evacuation area in Fukushima on 31st March 2017, Hatis Noit collaborated with renowned visual artist Nobumichi Asai on a project titled INORI (prayer) which they premiered live as part of an Erased Tapes showcase at Mutek Japan in Tokyo. 

Having recently moved to London and performed a first string of UK shows, followed by a special live performance at the Milan Fashion Week and Mutek Japan appearance, Peter Broderick has invited Hatis Noit to support him at the Jazz Cafe on April 15th. She’s also been announced as part of this year’s Sea Change Festival line-up, and asked to participate in a workshop with the London Contemporary Orchestra.

Illogical Dance

Buy 12" / CD / DL

Hatis Noit - Illogical Lullaby

BEHELIT

Hiding from the light of your eyes 
Waiting for the moment to arrive 
Lure you to your darkest desire 
Awaken by the touch of your despair 

Behelit 
The angels of vengeance arrive 

You were chosen by design 
Walking on the written crooked line 
Shedding the tears of blood 
Stray you away from God

----------------------------------------------

Written, arranged, and performed by Sigmun 
Lyrics by Haikal Azizi 
Produced by Sigmun 
Recorded and engineered by Adhit Android at Aru and Infinite Labs, Bandung 
Mixed by Adhit Android 
Mastered by James Plotkin 
Cover artwork by Ahmad Rizzali

Sigmun 
- Haikal Azizi - vocal / guitar 
- Nurachman Andika - guitar / vocal 
- Mirfak Prabowo - bass guitar / vocal 
- Pratama Kusuma Putra - drums / vocal

Behelit

Collaboration with Lucrecia Dalt for C/L/A/W Radio RBMA

Underneath The Red Earth

full broadcast

http://m50.net/playlists/2018.01.26.html

Servant (chaotic orchestra remix)

DiffuseHair

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