INFO => self-titledmag.com/2018/05/11/ne247-meyers-negative-artist-mix/

NE247: Meyers - 'Negative Artist' Mix

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)

A Warmer Welcome// a digital benefit in support of syrian refugee welfare // 110 Tracks // DL - 2016
https://www.discogs.com/Various-A-Warmer-Welcome/release/8140284

:Zoviet*France: - The White Sea

Takoba

Forthcoming on Akuphone (AKU1016)

feat: 
FUJI-YUKI - KIKI HITOMI - MIKADO KOKO - MIKI YUI 
KAKUSHIN NISHIHARA - KUUNATIC and KEIKO HIGUCHI.

DIGITAL  => JUNE, 14. 2019 
VINYL-CD  => JULY, 13. 2019

Seitō gathers Japanese female artists from various electronic and experimental music fields. Like the « Tokyo Flashback » series issued by P.S.F. in the early 1990s, this collection recorded between 2017 and 2019 exposes the richness of the contemporary Japanese underground music scene. The title refers to a cult feminist magazine printed in Japan in the 1910s. All tracks issued for the first time.

www.akuphone.com

AKU1016 // VA - Seitō: In the Beginning, Woman Was the Sun (Album preview)

Upcoming release from Lost Johansson (Malmö Inre 2019).

Blocket

Soon

Lost Johansson - Guincho

Track title: I Caught A Glimps Of The Sea Trough The Leafy Boughs Of The Pines (excerpt)

Kim Myhr & Australian Art Orchestra announce new album due for release on April 17: Vesper 

Recorded live as part of the Melbourne International Jazz Festival in June 2018, 'Vesper' is guitarist/composer Kim Myhr’s collaboration with the world-renowned Australian Art Orchestra, led by Peter Knight. A long-form, immersive work consisting of three movements that add up to a combined running time of just under one hour, it further demonstrates Myhr’s masterly command of complex musical resources and extended duration. ‘Vesper’ - which means “evening” in classical Latin - also reunites Myhr with drummer and percussionist Tony Buck, of Australia’s legendary improv trio The Necks. Buck was one of the three guest drummers featured on Myhr’s acclaimed Hubro recording ‘You | me’, shortlisted for the 2018 Nordic Music Prize alongside Bjørk and Susanne Sundfør.

"I had been thinking for a while to do a night piece”, Kim Myhr says about the genesis of ‘Vesper'. "The music I’ve listened to the most, and which is perhaps the closest to me, is the music that I listen to in the hour before going to bed, when the tempo is a bit slower, and the expectations of the day are fading. Daniel Lanois talked about how they recorded Bob Dylan’s 'Oh Mercy' only in the night-time, because musicians tend to be more patient and relaxed then, and even play a few bpms slower. Although this is a nice idea, I was more focused on the music itself rather than the methodology. What interested me was the private spaces of night time, when the listener knows that nothing more will happen for the rest of the day. It’s an embracing and immersive space, where we can be at our most private and intimate.”

The music for ‘Vesper’ is embracing and immersive too, with an associative, dream-like quality that fits the night-time context to perfection. While each of the three movements could be said to follow its own internal logic and sense of development, capable of functioning as stand alone pieces if required, the overall span of the composition as a whole is suitably epic. The range of sounds is equally vast, from Kim Myhr’s own electric 12-string guitar with its special tunings, to the incredibly versatile resources of the ensemble - actually a septet for this date, but sounding far larger. Live instrumental parts for brass, woodwind, strings and percussion are complemented by re-processing from Joe Talia on Revox tape deck and electronics, with Peter Knight covering electronics and hammered dulcimer as well as trumpet. Combined with Tony Buck’s maelstrom of percussion, the overall effect is thrillingly intense, with each mounting climax coming close to a sensory overload, while quieter stretches can seem to roll by timelessly in a somnambulant haze.

Kim Myhr & Australian Art Orchestra: I Caught A Glimpse Of The Sea Through The... (Excerpt)

my take on new Abul Mogard live track, I used original track as sample base for collage and mixing it into drone sounding track.

original track:
https://abulmogard.bandcamp.com/track/the-purpose-of-peace-live

my album Expanding lands (released 15.03.2020):
https://secretpress.bandcamp.com/album/expanding-lands

my label secret press:
http://secretpress.bandcamp.com/

Abul Mogard - The Purpose Of Peace (Live) [Blear Moon Rework]

Luring portal to past memories, beckoned in by an atonal piano.

‘Woven Empty’ comes at a key moment in the history of Sequences and as an end point of an exhausting transitory period in the personal life of its creator musician and visual artist Niels Geybels. The album is the result of an almost obsessive hunt for analog and acoustic sounds, some captured and recorded during travels all around Europe, while others have been crafted through tape experiments with an array of instruments and tools like electric guitar, piano, kalimba, flute, harmonica, contact microphones and 4-track recorders. But there surely is something more that lies beneath the surface of Sequences’ first appearance on vinyl.

In one way or another, human beings have always craved an environment they can call home. While for some this personalized habitat is merely a shelter for others it remains a carefully built reflection of the self. A home can be a physical projection of an inner world, a means to firmly grip and control your own life or a step towards the socially affirmed sense of security. However, in the turbulent and (not so) slowly disintegrating reality, which we are forced to share with other human beings, home is often a sanctuary and an escape. In the past five years Niels Geybels found himself moving house five times. In the process of constantly having to ‘destroy’, pack and rebuild his own world life he’s looked with new eyes at the empty rooms, cold beds and dusty windows that awaited him to start his new life within their domains.

Despite being inspired by the spirits of empty homes and the long-forgotten voices of their former inhabitants, ‘Woven Empty’ is not an album confined within any four walls. Its sonic worlds, being extracted from an array of realities themselves, are instead constantly blurring the listener’s perception of the mundane and the surreal. You might find the music taking you to a confined path amidst a foggy meadow at dawn to realize that you are sleepwalking. ‘Woven Empty’ turns insomniac visions into memories and reoccurring dreams into fears. It stares at you as much as you stare into it. This is the effect of an album created and inspired by emotional turmoil, structure developed through a time-consuming and almost obsessive sound-creating process and then left to quietly wait for you at the end of a 10-year-long hike in the obscure borderlands of drone, ambient and emotional noise music.

https://soundcloud.com/audiovisualsatmosphere
https://soundcloud.com/sequences

Premiere: Sequences - Door To The Unreal [Audio. Visuals. Atmosphere]

Das "Orchestre du LÖTLÄB" der Galerie Pfund & Dollar performte zum "Festival für selbstgebaute Musik" 2020 in 3 Akten auf dem RAW-Gelände in Berlin zu ihrer Elektroschrott-Sound-Installation "DE-OBSOLESZENZIATOR". Dies ist der dritte Teil.

mit: Ada Grüter | Max Gausepohl | Benjamin Wiemann | Robert Craven | Lukas Kannemann aka "kskefk" | Johannes Hassenstein aka "Acid At The Mall"

Teil 2/3 ist hier: https://soundcloud.com/derkleinefreitag/presents-orchestre-du-lotlab-de-obsoleszenziator-23 bei @derkleinefreitag zu finden.

"Die Obsoleszenz ist allgegenwärtig und doch immer nur versteckt und (zu) selten diskutiert. Als ein treibender Faktor des kapitalistischen Systems und des damit verknüpften Kreislaufs von "Neukauf und Entsorgung" anstelle von "Instandsetzung oder Nutzungsänderung" ist diese Methode der geplanten Begrenzung der Haltbarkeit diverser Produkte als quasi systemerhaltend (wegwerf-)gesellschaftlich akzeptiert bzw. kaum hinterfragt. Die Klang-Installation "De-Obsoleszenziator" führt genau diese Realitäten ad absurdum, indem dem veralteten, kaputten, ungenutzten, am Straßenrand hinterlassenen sogenannten "Elektroschrott" neues Leben in Form einer Stimme eingehaucht wird. Druckermotoren getrieben von Merklin-Trafos, die Zeit ihrer angedachten Tätigkeit kilometerweise Papier umgewalzt haben, dürfen nun an Saiten klingend in die Jahre gekommene, von TFT abgelöste Röhrenmonitorgehäuse zum schallen bringen während weggeworfene Lautsprecherboxen knopfgesteuert in von Hardware leergefegten Computergehäusen schnarren. Ob das hier entstehende Klangerlebnis als ein melodisch Schönes zu verstehen ist, wäre anzuzweifeln. Doch die Idee hinter dem von Benjamin Wiemann und Lukas Kannemann initierten Repurposing-Projekts (welches nun in der Galerie Pfund&Dollar in Hamburg in Form einer regelmäßigen Bastelsession genannt LÖTLÄB ein Zuhause findet) ist auch nicht einen wohltönenden Zusammenklang zu erzeugen sondern eher den Augenmerk auf die oben beschriebene gesellschaftliche Disharmonie und den Umgang mit den uns zur Verfügung stehenden Resourcen zu lenken."

DEOBSOLESZENZIATOR 3 - Festival für selbstgebaute Musik, RAW berlin, 2020

DE-OBSOLESZENZIATOR 3 - Festival für selbstgebaute Musik, RAW Berlin, 2020

Night Foundation - Hold That Thought

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.

Sublamp - Map 01 (edit)

Dragons Eye Recordings