Spotting

Paraphilia

https://thelevelofvulnerability1.bandcamp.com/album/submission

Scars (excerpt)

This is available to download from the excellent E.X.P.L.O.D.E compilation on The Irrational Media Society

https://theirrationalmediasociety.bandcamp.com/album/e-x-p-l-o-d-e

Flint Kids - Oblique Berry Oil

Macronympha / Yasuhito Fujinami
Split C60
https://yasuhitofujinami.bandcamp.com/

Ressentiment (excerpt)

Coming soon :
Tube Tentacles / Elma / Yasuhito Fujinami
3way split Cdr

Sacrifice (excerpt)

Deep Sea Dive

Fis & Rob Thorne "Clear Stones" (SUB022)
Digital: fisrobthorne.bandcamp.com/album/clear-stones

Subtext presents Clear Stones, the first meeting between two distinct voices from New Zealand. In a unique collaboration, Māori sound artist Rob Thorne (Ngāti Tumutumu) and Berlin-based electronic composer Fis dismantle boundaries in space, time, and genre, juxtaposing Thorne’s living, breathing practice with the weight of modern sound systems.

Recording sessions at Berlin’s Red Bull Studios were the starting point, committing Thorne’s traditional Māori instrumentation to tape. Made of wood, stone, bone and shell, the instruments of taonga pūoro (translating to ‘singing treasures’) include various oblique-style flutes, horns, percussion, and objects spun above the player’s head during performance. Amongst the instrumentation deployed by Thorne on Clear Stonesis the Pūtātara (conch horn), Pūrerehua (bullroarer), and TumutumuKōhatu (stone percussion). However it’s the Pūtōrino that features most regularly throughout; an instrument that is both flute and horn, both voices captured in one single take by Thorne on mid-album epic ‘Glurn Herrin’. Thorne has been performing in New Zealand for some 25 years, and the release of his debut solo album Whāia te Māramatangaon Rattle Records in 2014 garnered wide critical acclaim, including a nomination for ‘Best Maori Traditional Album’ at the 2014 Waiata Māori Music Awards.

Since his debut on Tri Angle Records in 2013, Fis has released a string of acclaimed albums, including his Subtext debut From Patterns to Details in 2016, ending up in end-of-year lists at both FACT magazine and The Quietus. Starting with Thorne’s taonga pūoro recordings, Fis sculpts bold new settings for the music, mired in deep bass and vast synthetic tones, at times pushing Thorne’s wood, stone, and bone into total transformative saturation. The conversation that emerges between these two artists encompasses technology and nature, computers and physical instruments, historical narrative and the present, perceived secularity and sacredness, framing them all as aspects of one single, conscious whole.

Fis and Rob Thorne will be touring Europe in lead up to the release, starting with Borderline Festival in Athens, going on to open Milan’s outernational Mondo Muzak festival, plus make a visit to Cafe Oto in London.

subtextrecordings.net/

Clear Stones

Front Ear

Digital

Fis & Rob Thorne - Front Ear

To celebrate Clear Stones on @subtext-recordings being Bleep's Album of the Week @fisnz and @rob-thorne-toi-puoro have created this mix for us.

Find the album here http://link.bleep.com/Fis-Rob-Thorne-Clear-Stones-Subtext


The mix starts with pieces by contemporary taonga pūoro master Horomona Horo alongside the Voices New Zealand Chamber Choir. From there it's exclusively Rob Thorne and Fis material, sharing bits that narrowly missed out on the album, and improvisations from their recent live appearance in Turin.

Bleep Mix #1 - Fis And Rob Thorne - Clear Stones

Spheres is the first in a series of “documents” by Research, which intends to unite a diverse selection of artists around a common theme. The inspiration for this initial document comes from artist and mathematician Timothy Cresswell, whose carving of spheres covered in mathematical figures – a holistic, meditative process he refers to as “tuning” – has taken place for over fifty years and has inspired the art direction of his son Daniel. 

The leadoff track “Radon” from These Hidden Hands – the production duo of Tommy Four Seven and Alain Paul – does so with a red-toothed yet synthetic menace and with percussive patterns like an artillery barrage. Mondkopf then dials back the aggression somewhat for his piece “The Runaway,” yet keeps the sense of transformative tension running high with sculpted static, nervous Geiger counter ticking and majestic layered synths. SNTS closes out the A-side with the appropriately named “Dunkelheit,” a slow and steady audio journey – complete with dramatic pauses – through black rains and monolithic structures used for ritualistic purposes. The B-side opens with Oake’s “Blemmyae,” a slowly unfurling mass of audio fog whose hypnotically austere rhythm track – almost entirely composed from a single martial snare hit and a punishing digital bass drum – is used as bait to lure listeners into a force field of precisely interwoven drones and doppler-effect mayhem. Headless Horseman sustains this atmosphere with a club track for an alien homeworld: a dense mixture of shuddering / shattering percussion, imperious synth swells and crackling bursts of raw electricity. Grebenstein’s “Meet My Needs” delivers the final statement for this particular document, utilizing carefully segmented white noise and synthesized pulmonary sound as the basis for an ascension to uncharted mental realms. 

released November 24, 2017

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