Dragon’s Eye Recordings is excited to welcome back Ian Hawgood for his first release on the label since 2009. Hawgood returns with 'Memory and Motion,' a recording that captures an intimate and spontaneous performance from the same era. 

Notes from Ian: 
On August 6th, 2010 I had the great pleasure to perform alongside my wife at the Dragon's Eye hosted Immersound at The Others in London. We had got married that summer and had just arrived from our honeymoon in Indonesia to the UK to celebrate with friends and family on our way home to Japan. 

I'd spent that summer in Indonesia hunting down gamelan instruments, and travelled with a few gongs I'd picked up along the way. I'd originally intended to perform a laptop-based set on the night but due to a lack of desk space decided to create a patch using Max/MSP and the gongs we had in our backpacks. 

'Memory and Motion' is a long form work I created in preparation whilst artists were sound-checking, and is one that brings so many memories of a particular summer period, as as well as reminding me of the sheer motion and feeling of traveling to various countries. As a result of the last year in lockdown back in the UK now, I have found myself returning to this piece time and again for catharsis really. 

I am so pleased to be presenting this piece back on Dragon's Eye, over ten years since performing alongside their great artists, and even longer since my last release 'Snow Roads' on Dragon's Eye for which I am very thankful indeed.

Memory and Motion

Memory And Motion

Ian Hawgood - Memory And Motion (sampler)

Dragon’s Eye Recordings is excited to announce 'Park Kulturi,' the debut EP from Russian composer and artist Genrietta. Now based in Israel, Genrietta casts an ear toward her city of origin, naming the record after Moscow’s subterranean metro station Park Kulturi—the first station of the city's vast, mysterious, and largely off-limits underground grid. Through use of sparkling synthesis, field recordings of spaced-out concrete canyons, and suspenseful but pleasurable steady grooves, Genrietta reconstructs her memories of the atmospheres of five different Moscow locations: metro station, underground pass, power station, forest, and urban highway. Each track represents the composer’s recollections of their soundscapes and dynamics.

Park Kulturi

Genrietta - Tets 26

Dragon’s Eye Recordings is pleased to announce 'Suisei,' the latest reissue from Tokyo-based abstractionist Yui Onodera. 'Suisei' was originally released in 2007 on and/OAR (USA) to critical reception, drawing comparisons to Thomas Koner, Eliane Radigue, Phil Niblock, and Keith Berry for its sustained harmonics and darkly-tinged, staticky drones. The album is composed from field recordings made with consumer-grade dictation mics, contact microphones, and pump organ, which Onodera employs in both subtle and overt ways. 

The word suisei—translated simultaneously from the Japanese as ‘aquatic,’ a comet, or the word for the planet Mercury—aptly represents a record that shifts ambiguously through textural deconstruction of some watery, isolated landscape. Cinematic in its slippery and grinding aural imagery, the record charters a natural path through the transformation of organic elements, chattering, pinging, scraping, and washing through oscillations while avoiding the realm of the grotesque.  While characteristic of Onodera's microscopic, hallucinatory style, 'Suisei' stands apart from other releases in its massive coverage of aural territory.

Suisei

Yui Onodera - Suisei Pt.1

Fortresses guides a pensive, ethereal meditation on the passage of time with his debut release, Eve, on Dragon’s Eye Recordings. 

A day may be observed by exact moments, counted down by the hands on a clock; or, its progress might be witnessed through less immediate means—a shift in shadows, the sky’s hue, the air as it warms and cools. 

In this sense, Fortresses both measures the day with exactitude, and honors its slower unfoldings. Each of Eve’s three carefully crafted compositions allow the listener to hone in on a singular element, or lean back into a wider gentle drone. One can pinpoint a hint of static, or drift with a melodic looping hum as it phases in and out again. 

In his own words Fortresses offered us some insight into the making of Eve: 

Eve formed slowly during a self-reflective and transformative period in my life. The songs stand as a personal document of the time they were made and the rituals that gave shape to them—watching the seasons change from my studio window, letting the colours and qualities of light inspire the compositions; and long walks in East London’s natural and urban areas where I would listen to rough edits of the tracks and record open-air sounds that blended well with the music. 

With this music, the process is compositional and very deliberate, as opposed to improvised or open-ended. The tracks are manipulated guitar and synth lines, meshed with both raw and processed field recordings, and broken chords and melodies made with a Mellotron iPhone app.

Fortresses - June

Gabie Strong’s latest album, 'Wilding Sun,' is a distinct addition to Dragon’s Eye Recordings’ catalog, consisting of four arrangements titled after medicinal herbs. The album relationally places the listener in synesthetic herbal wash, translating flavor and fragrance into sound through live improvisations, home recordings, and field recordings. Each composition is healing in its own rite; all flourish together to create a complex, organic whole.   

The first track, “Lavender”, is a recording from her most recent performance celebrating the painting exhibition 'Forest' by artist Pamela Jorden at Romer Young Gallery in San Francisco. Both Strong and Jorden share similar movements when manipulating sound and paint, respectively; they both bend, droop, reach, wave, teeter and stretch to manipulate their materials. Strong's guitar improvisation is an homage to the embodied gestures and luscious pigments which comprise Jorden’s 'Forest'. 

“Catnip” and “Dandelion” both blend unique self-recorded improvisations and site-specific field recordings made by Strong in 2021. There is simultaneously a compact, domestic intimacy and an expansive sense of unfurling in each composition. 
  
Finally, “Mugwort” is a lo-fi recording of the artist's charged 2019 performance at “Hell in a Handbag 8: Handbag Factory's 8-Year Anniversary” in Los Angeles. The acoustics alternate between hushed static, salient feedback, and sustained drone. 
  
Much like a garden, Strong’s compositions cultivate a sense of external enclosure—the quality of being both inside and out. The four tracks, like their namesakes, are simultaneously delicate and hearty, remedial and temperamental and graceful; the album itself an apothecary, offering up a holistic transmutation of the senses.

Wilding Sun

Gabie Strong - Lavender

Seven artists reckon with isolation and subsistence in Dragon’s Eye Recordings’ latest release, titled 'Touch'. Organized by Tomoko Hojo, the album collects six sound pieces by various artists who grapple with the restriction of physical contact through sound. Our ability to touch is a means of survival, an essential and intimate way of living and communing with others. So when it is taken away for the same reason we possess it—for the sake of staying safe—how can it be replaced? What can stand in? 

The pandemic claimed so much; and for a time, touch fell victim. In the album 'Touch', Alexandra Spense, KMRU, Viv Corringham, Myriam Van Imschoot and Federico Protto, Tomoko Hojo, and Melissa Pons prod at means of non-tactile touching. They explore spaces where touch is only a memory, a recording, something missing to find replacements. In assembling this six-piece collection, artist Tomoko Hojo recalls Yoko Ono’s 1964 event which invited attendees to “watch the sky and touch”. Over the course of 'Touch,' the listener is an attendee, witnessing sonic reconstructions of haptic happenings. In each of the album’s pieces, sound grazes unseen surfaces and traces invisible shapes with an absent finger.  

In “Communion”, Alexandra Spense recalls a space where tactility transformed into something more, an instance that dissolved the borders of the physical body to blend spirit with its surroundings. KMRU’s “its not a tangency” relies on repetition to feel the boundaries of its container. Almost like echolocation, the listener relies on distant children’s voices and the monotony of soft drones to situate oneself in an imagined space.  

“Imagine myself walking with you” engages with the physical intimacy created not through touch, but rather physical presence—the nearness of two bodies, the potentiality of tactility, the imprint conversations can leave long after they end. Viv Corringham digitally recreates her process of walking and talking with strangers, instead connecting with a friend online. In “Human Measures”, Myriam Van Imschoot and Federico Protto create an instrument which mimics what touch might sound like by simultaneously breathing into a circulatory system of tubes, wrapped into something like the symbol for infinity.   

In “fall asleep”, Tomoko Hojo conjures whispers, chants, and rings bells to touch the air.  From these sound waves of voice and instrument and element, intentional and drawn out, their dispersal can be felt. It’s when the waves enter the ear that we can hear them. But Hojo asks what happens to other waves that run into other parts of the body, unalive or unhearing.  

The absence of other bodies, the ultimate vehicles of touch, brought Melissa Pons inward with her piece “Three”. Through airy field recordings, scattered static, and gently howling drones, it’s as if Pons watches her emotions float off of her body like the minuscule flakes of skin that comprise dust.  

Each of these six pieces ask to expand outside of sound, to take physical shape, make gestures and wander. In their own unique ways, the artists of 'Touch' attempt to transmute sound into tactility, and they come as close as they can. Collectively, the sound pieces exist within the container of the compilation—an abstract notion that places collections of noise alongside one another. And so what is a compilation if not individual tracks rubbing up against one another, meshing, touching?

Touch

KMRU - Its not a tangency

EINATH is an intuitive and absorbing first-time collaboration between Mexico-based artists Alejandro Morse, Cian, and Eduardo Padilla. Longtime contemporaries familiar with each others’ work, the four tracks on the album amount to an active and considerate conversation: The musicians harness a private shared language of their creative relationship to generate a work of immediacy, bemusement, and prescience.  

In their own words the artists offered some insight into the making of EINATH: 

”Recorded one pale evening just before the outbreak, on top of a partially abandoned building at the edge of León, EINATH rises as a long, focused, and very lucky improvisational composition made without exchanging a single verbal cue, choosing a structure, or arriving at even the most basic understanding on how to go about things and what rules to follow. The results were then slightly edited, adding no overdubs, and presented with the original, organic flow of the live session.”  

Underneath layers of electric and acoustic guitar, modular synth, and digital processing, the resulting drone cultivates a thick, almost premonitory atmosphere—like low-hanging bruised-colored clouds before a heavy rain. All the while, as if to combat the stillness of the city below, underlying melodies steer these organic gestures into a cohesive, exploratory vehicle that descends increasingly deeper into itself. It seeks shelter, waiting, aware of the storm that is brewing. 

Despite EINATH’s in-the-moment composition, its underlying nature still retains the intention and energy shared between the artists, revealing how each of their individual practices connect without strategy to compose a whole greater than the sum of its parts.

Einath

Alejandro Morse + Cian + Eduardo Padilla — Endless Keg

MIXED SIGNALS II represents the next chapter of Fax and Braulio Lam’s collaboration, which started with their first EP in 2020. Across four tracks, they navigate creative exploration, and wander among the textures, colors, and sizes that sound can possess. 
  
Much like its predecessor MIXED SIGNALS, the sequel EP delivers a meditative ambient swirl, dedicated to finding balance while still moving. And yet, if the first album was to be considered grounded and earthy, MIXED SIGNALS II is determined to challenge gravity—it creates spacious cinematic landscapes that stretch out and up.  

The four tracks are distinctive in their progression: The airy subtleties of the field recordings in ”Fragmented” take off and open up into an expanse of drone, with echoes of feedback further off in the distance. “Porta” twinkles in a dark sky; it wavers slightly in a liminal space of gradual transformation. In “Visions”, there is a hypnotic revelation, with an underlying heartbeat that gently draws one into its ascent. Finishing with the title track, “Mixed Signals II” is a docking; it rotates as it revolves, slowly considering what lies beyond its own orbit. 

This meditative soundtrack is like a hazy black and white image, captured by a telescope or transmitted by a satellite, hinting at what lies far beyond our own limits of perception. The arrangement of acoustic instruments and electric guitars layer with field recordings and synthesizers to create a hypnotic reflection on sound—how it reaches out in the space around it, how it rises, how it looks, and how it feels.  

MIXED SIGNALS II was recorded between Tijuana and Mexicali, in Mexico by musicians Braulio Lam and Ruben Tamayo (a.k.a. Fax). Together, the artists built upon their first collaboration to pass beyond the horizon of instrumental music.

Mixed Signals II

Fax + Braulio Lam —  Visions

Air, in both its stillness and its movements, is what compels INVASIVA, the latest release by multidisciplinary artist Dorian Wood.

In early 2022, Dorian set out to investigate the root of her anxiety—and how her breathing is both affected by, and complicit to, her mental state—during an artist's residency at Loghaven in Knoxville, Tennessee. Upon touring the campus, she learned of the Whittle House, an abandoned cabin on the grounds that had not been inhabited for many years, set apart by the other nearby, fully-restored cabins. In encountering this site, Dorian connected with the idea of isolation as a catalyst for disrepair. She came to understand how separation could trigger a fear of losing self-awareness and the inability to escape. 
 
INVASIVA is a document of the artist meandering physically and mentally between two forms of confinement: "mandated" and "self-imposed". Like an abandoned house, the composition is filled with a stillness that seems both uninhabited and anticipatory. Gradual shifts in tone build an atmosphere of meditation, and droning notes are sustained like a deeply held breath. And yet, despite the fear of quiet isolation which permeates the piece, INVASIVA swells with slow respiration, revels in the wind, and echoes with gentle reminders of outside life. 
 
The work is one that emulates a contemplative state which is constant threat—and perseveres.  Comprised of the recorded stillness within the Whittle House, and sounds captured in the office lobby of Dorian's breathing specialist in Los Angeles, INVASIVA is a quiet, ethereal triumph over suffocating loneliness. It is a piece that is filled with inhalation, anticipation, reflection,  exhalation, release—it is filled with air.

Invasiva

Dorian Wood - Invasiva (excerpt)

Dragon’s Eye Recordings is pleased to announce it’s first release from Seattle artist Jake Muir. With 'Acclimation', Muir continues his focus on mood, texture, and place, by taking found sounds and presenting them in a new context. Muir began field recording with the mindset of a natural sound recordist, in that he was largely interested in environments “free” from man made noise. More recently, Muir began contemplating the perspective that man is part of the soundscape, and that there is beauty to be found in some of our machinations. This acceptance of the given state of things opened his ears to more sonic possibilities.

Last fall, Muir was invited to perform at Seattle’s Corridor Festival, which would take place at the Georgetown Steam Plant —  a historic landmark over a century old. Muir took this opportunity as an impetus to create a live set based solely on industrial and aqueous field recordings, given the context of the setting. This live set became the basis for 'Acclimation', where the goal was to exploit the harmonic elements in these man-made sounds and to largely deconstruct the source material. The album consists of a variety of recordings made in Los Angeles, Vancouver, Iceland, and Washington. In thinking of what content he might utilize, Muir gave a home to recordings he had forgotten about and had previously deemed not useful.

Acclimation

Jake Muir - Acclimation (Excerpts)

In contrast to America’s current obsession with post-apocalyptic narratives, electronic musician Marc Kate considers the concept of non-being for his Dragon’s Eye debut. As we sink deeper into an increasingly nihilist world of suicide bombers and Trump politics, the anthropocene and anti-science, Kate suggests a music neither optimistic nor pessimistic, but rather outside of these perspectives. Using drone and sound synthesis to mimic existentially static states of non-being, 'As If We Were Never Here' asks the questions: what is absent, what is missing, and what is lost?

The fourth track - 'Corpsed' - was recorded in an abandoned department store basement in Portland, OR. The track plays with microphone placement throughout the space, picking up variations of the endless reverb and resonance through the space that vibrates the decaying architecture.

As If We Were Never Here

Marc Kate – Inorganic

Dragon’s Eye Recordings is pleased to announce the re-release of 'Substrate / The Garden' by Japanese sound artist and composer Yui Onodera. 'Substrate' and 'The Garden' (Le Jardin) were originally released in 2007 by Mystery Sea and Taâlem, and after their 2018 remastering, return alongside each other eleven years later. 

On 'Substrate', Onodera interrogates the fundamental limits of perception. Throughout the eight tracks, shimmering frequencies pan through organic tonal structures and streams of resonance swell and ascend in a gradually expanding space of audition. While Substrate accentuates the poeticism of the microsound genre, the album progressively draws a listener toward awareness of the physical subtleties of their own surroundings. 

'The Garden' is a rich, blooming composition built around the sound emitted by hydrogen and oxygen bubbles as captured by the ELS 19, a custom transmitter device which utilizes the electrolysis of water. The irregular sounds generated by this process are micro-acoustic phenomena which can only occur in a particular environment, and sit well beyond the range of unaided human hearing. As such, Onodera considers the relationship to sound and listening outside of a musicological hierarchy that might position environmental sound and music as independent and opposite concepts. Instead, Onodera regards these sensory experiences akin to that of a garden, with instrumental composition and environmental ambience each offering a total, continuous experience with innumerable interdependent relationships. The boundary between nature and artificiality becomes ambiguous.

Substrate / The Garden

Yui Onodera – Substrate 5

'7456. Live at Human Resources, Los Angeles' summarizes Fabio Perletta’s recent works 'Genkai' (in collaboration with sound designer for Pioneer Haruo Okada) and 'Ichinen', both released by LINE imprint, in 2016 and 2017 respectively. As it blends the two albums’ distinctive approaches, it reveals their contrasts in terms of hi dynamic range and aesthetics of hesitation, silence and instability. This live recording marks the end of a cycle of works initiated with 'Kaikō' (collaboration with Haruo Okada, 901 Editions, 2014), which ruminates on notions of presence, limitation, contemplation, patience and humility. 

Like the photograph on the cover, the music explores distance, proximity and the necessity to be emotionally detached to achieve balance. It is impossible to enjoy a flower if it’s viewed too closely, it will appear blurry. Like the photograph, the music doesn’t change, instead it exists in potentially infinite variations through its exposure to each listener unique memories, experiences, and perceptions. '7456. Live at Human Resources, Los Angeles' thus asks the questions: is there and where is truth? Are artworks really finished? Do artworks which artists create belong to them? Duality, inconsistency, impermanence, and paradoxes are themes Fabio Perletta is questioning and enjoys his inability or need to solve. 

“The notes fade, but they don’t necessarily stop. They echo into infinity, at once trapped inside the deep trenches of the past and in turn shaping things that have yet to arrive. Harmony and silence are one and the same”. — James Catchpole on Ichinen for A Closer Listen. 

'7456. Live at Human Resources, Los Angeles' was recorded live on June 11, 2017, as part of Fabio Perletta’s VOLUME residency. His appearance was made possible with support from DE.MO./MOVIN’UP, II session 2016. MOVIN’UP II session 2016 was promoted by Ministry of Cultural Heritage and Activities and Tourism, General Directorate for Contemporary Art and Architecture and Urban Suburbs, General Directorate for Performing Arts and GAI – Association for the Circuit of the Young Italian Artists.

7456. Live at Human Resources, Los Angeles

Fabio Perletta — 7456. Live At Human Resources, Los Angeles (Excerpt)

Dragon’s Eye Recordings is pleased to announce 'Susan's Last Breath Became the Chill in the Air and the Fog Over the City's Night Sky', the debut release by Los Angeles musician and field recordist Ian Wellman. 'Susan's Last Breath…' was inspired by Wellman's walks through downtown Los Angeles in the fall evenings. While wandering the concrete tangles of LA, Wellman recorded cricket songs filling the air as the marine layer settled above the city’s skyline. The album’s six tracks evoke a conflicting reality commonly felt for those of us city dwellers––a harsh foreground, moment of delicate contrast, the ache of transience in urban beauty. 

All tracks on 'Susan’s Last Breath...' are comprised of unedited field recordings paired with short compositions made on 4-track. Each loop contains some permutation of sampled drones, breath, phone apps, Nintendo DS home-brewed apps, metal springs, and Casio keyboards found in the trash.

Susan's Last Breath Became the Chill in the Air and the Fog Over the City's Night Sky

Ian Wellman - Settling Fog

Dragon’s Eye Recordings is excited to welcome back Sublamp for his first full-length release on the label in nearly 10 years. Sublamp returns with 'Sister Maps'—a collection of parallel songs, parallel in time but separated by space. Inspired by a three-week tour of recording live episodes of 'Comedy Bang Bang' through 19 cities, Sublamp contemplates the impossibility of knowledge or understanding place when presented with only fleeting glimpses of it. Each track covers the same twelve minutes as if it had been captured simultaneously in six locations across an imaginary city. 

All the tracks on 'Sister Maps' influence each other in subtle ways. Sounds wander between or bleed through into the background, while other recordings maintain isolated independence. While listening to an album is generally a linear experience, Sublamp’s (accidental) choice to flow each song seamlessly into the next complicates the idea of placing works in parallel. The listening experience transforms, like moving through space while a möbius strip of the same twelve minutes repeats around you, or like meandering through an unfamiliar city with only your personal experience available to understand it. 

A city is not linear. A map shows only a space delineated, but not what occurs within that space. The borders of a city exist in both space and in time, which make it impossible to know a place completely. Wherever you are, there is always something happening somewhere else, simultaneously. An experience in parallel with your own.

Sister Maps

Sublamp - Map 01 (edit)

'Vanitas' is the result of a collaborative performance between Fischer and Jam for the Portland ambient series Bloom, in the winter of 2018. The title is taken from the 17th-century vanitas painting tradition which points to the inevitability of change, the transience of vanity and the ephemerality of human life.

"Sound is a haunting, a ghost, a presence whose location in space is ambiguous and whose existence in time is fleeting. The intangibility of sound is uncanny – a phenomenal presence both in the head, at its point of source and all around, and never entirely distinct from auditory hallucinations. The close listener is like a medium who draws out substance from that which is not entirely there."
– David Toop, Sinister Resonance

Vanitas

Marcus Fischer + Burke Jam - Detritus

Dragon’s Eye Recordings is pleased to present 'Going Home 帰郷' by Ai Yamamoto. Yamamoto's first release for the label explores her journey back to her hometown of Shizumu, Kashiba city in Nara, Japan. Quiet spaces, forests, rice fields, seasonal insect sounds, family and friends shape the composition.

On 'Going Home 帰郷' Yamamoto combines her old samples and transforms them with new approaches toward ambient. The piece begins with soft textures and combinations of long, gauzy melodies. These surfaces shift to simple piano tones bolstered underneath by subtle noise, then move to abstract guitar textures.  The piece finishes with a field recording of crickets from Shizumi Nara, paired with a gentle refrain.

In Yamamoto’s words, “'Going Home 帰郷' brings you a pair of big wings to fly and takes you on a journey of Nostalgia where you feel warm and comfortable. Everyone looks back and thinks about their hometown where they grew up, and sentiment or emotions are all mixed––from bitter to sweet––but you still feel home with smiles. This is a music diary and a journey of ‘where you are from to where you are now.'"

Going Home 帰郷

Going Home 帰郷 (Excerpt)

“No man ever steps in the same river twice, for it’s not the same river and he’s not the same man.” 
— Heraclitus 

Dragon’s Eye Recordings is excited to announce 'Spiral' by Pé. On his first release for the label Pé layers synthesizers and processed cassette recorders to create melancholic drones that defy their own density, suggesting a permeation of light and silence. With minimal keyboard triggers and sequencing, Pé generates cross-modulation and wave interference that falls out of sync as it slowly evolves, only to realign by the end of each piece. Through this process Pé explores the coexistence of repetition and unfamiliarity: the habit of ignoring the path well-traveled, and the impulse to dwell on the past.

Spiral

Pé - Spiral V

Dragon’s Eye Recordings is pleased to present 'We Become Giants' by Ida Toninato. On her first outing for the label, Toninato conjures a vast ambient space through her physical collaboration with architecture, her instruments, and her listening ear.

Notes from Ida:
'We Become Giants' was composed and recorded at the Tank Center for Sonic Arts in Colorado. This immense former water treatment facility is a uniquely resonant space, with a massive 40-second long reverberation. The music was composed in and with this sublime arena, the harmonics and beating patterns created by its own echo and reverb. After recording raw material in-situ, I returned to the studio to create a parallel synthetic space responding to the original one, using synthesizers, beats, and effects. The whole album was developed with the analogy of a hallucination in which real and imaginary space are intertwined into a sonic, visceral trip. 

'We Become Giants' is dedicated to my brother, Manoah Toninato, whose courage and determination are amongst the brightest lights in my life.

We Become Giants

Ida Toninato - We Become Giants

Dragon’s Eye Recordings is pleased to announce the return of Japanese sound artist and composer Yui Onodera with the reissue of 'Synergetics / Entropy'. 'Synergetics' was originally released in 2007 on Drone Records (Germany), while 'Entropy' was originally released through Critical Path (Japan) in 2005, then again on Trumn (Japan) in 2009. Now, fifteen years later, the two aesthetically complementary albums have been remastered and will be released together as one.

'Synergetics,' composed entirely of electric guitar and piano, is a minimal two-track study in slow motion. Overtones, harmonics, and the slightest of melodies emerge to richen expansive drones. Described originally as “music shimmering like light on water,” it is contemplative listening experience that simultaneously allows for release of consciousness while drawing focus to a pinpoint of the present moment. A delicate, kaleidoscopic sound work. 

The moodier of the two releases, 'Entropy' is Onodera’s original self-released debut. Through use of guitar, field recordings, and electronics, Onodera’s signature style of manipulating harmonics and accent noises into simple loops and melodies is recognizable and can be now understood as foundational.  Moments of timbral friction add a dimension that gently fractures a hypnotic hallucination induced by the warm parenthetical embrace of harmonic drones. Again, as in 'Synergetics,' Onodera uses this palette to heighten the listener’s sense of genuinely 'active' living—the present moment is drawn to the forefront while the exterior world’s pulse thrums along.

Synergetics / Entropy

Yui Onodera - Entropy 9

Dragon’s Eye Recordings is pleased to welcome back Kamran Sadeghi for his first release on the label since 2008. On BETWEEN US, Sadeghi explores life in quarantine by directing his listening attention towards the element of our homes that is both sheltering us and giving us a glimpse of the outside world—the window.

BETWEEN US was created using field recordings captured with DIY contact microphones attached to the glass window of Sadeghi’s home in Brooklyn. These protective barriers in the buildings we inhabit operate as a filter from the outside elements. Sadeghi describes the impulse of "wanting to hear the sound outside as it was being transformed to what I was hearing inside." Each recording's tonal slips due to the presence of sonic artifacts such as resonance, noise, low rumble, feedback, and cyclical hum (caused, in part, by the microphones' excessive gain) suggests a gauzy, shifting passage of time at a distance.

Between Us

Kamran Sadeghi - Morning

Dragon’s Eye is pleased to announce the release of 'Mixed Signals,' a new collaboration between longtime electronic musician FAX (Rubén Alonso Tamayo) and guitarist Braulio Lam. Both hailing from Mexico, the duo have crafted a multifaceted, shimmering ambient record that calmly propels the listener through passages echoing with just the right amount of reverb. Muted beats thrum against waves of ambient wash; bubbling guitar rides along the crest of synthetic sweeps. These carefully balanced mixed messages align with the album’s title, though the effect is not one of confusion. Listening creates a feeling of motivation toward a sense of ease, or settling into flux.

Mixed Signals

Fax & Braulio Lam - Insomnia

Dragon’s Eye Recordings is pleased to announce 'Odyssey,' a new work from South Korean duo 호수 HOSOO. 'Odyssey' is a record filled with air, whirling with woodwind-like sounds, piercing currents, gently blurred pulses, and gracefully dangling bells. The album consists of two improvised sessions (tracks 1-4 and 5-6, respectively), both recorded in August 2019. During these sessions, the artists experimented with their newly acquired instrument, a Korg ARP Odyssey, which they admit they didn’t fully understand as they began. This lack of familiarity and expertise ultimately helped them develop the unconventional sounds that became the foundation of the album.

Odyssey

호수 HOSOO - There To Here

Dragon’s Eye Recordings is excited to announce 'Below Diorite Waters,' a new long-form work by Joey Largent. On 'Below Diorite Waters,' Largent presents two site-specific recordings of seven closely-mic'd cymbals in an isolated mile-long lava tube of the Falls Creek Cave system near Mt. St. Helens. Largent’s method allows the natural overtones of the cymbals to emerge, creating layers of harmonics above the continuous rolling of mallets and perpetual drip of cave water. 

'Below Diorite Waters' manifests as a non-melodic, percussive drone work that takes inspiration from C.C. Hennix and Henry Flynt’s Hallucinatory Ecstatic Sound Environment genre, offering sound that can manifest introspective and perhaps hallucinatory states. It also draws from and re-interprets La Monte Young and Marian Zazeela’s concept of the Dream House, but rather than a built setting, the rapturous experience is captured inside a continuous sound environment already in existence—a cave that slowly drifts and changes for tens of thousands of years.

Below Diorite Waters

Joey Largent - Below Diorite Waters (excerpt)

Dragon’s Eye Recordings is a digital imprint based in Los Angeles and curated by artist and composer Yann Novak. Emphasizing the elevation of marginalized voices in experimental music, our catalog represents a range of sounds, processes, identities, and practices. Since 2005, we’ve published over 100 works of sound art and experimental music with a focus on ambient, field recording, drone, electroacoustic, and acousmatic music. As an independent label, we work to build community for our artists and listeners searching for somewhere to belong.

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