Performed by Elisabeth Smalt. 
Released on the CD Subvoice - unsounds.com/shop/physical/subvoice

Music For Viola

"George Chua’s “Evidence of Things Not Seen” has personally been a favorite album of mine for about a decade. In 2006 the title was self released by the Singapore based artist on a limited run of CDR’s and made available for direct download on his website, which is how I obtained it. I remember there was something immediately unique about the 4 pieces; specifically off the first take “Gloria”, that it felt more like the document of a living organism, rather than a piece of music. As you accrue more listens of course your pattern recognition starts to formulate and separate the musical signatures; but the piece still maintains that effervescent living form that moves without you but wills you to follow it. This past year I felt compelled to link friends into the album, however, I couldn't find any digital copy online, and moreover hardly any information on it. This startled me a bit and I got to work- By way of Social Media I was able to get in contact with George (Thanks to friends at Kitchen Label) and he happily agreed to present the album digitally with Anòmia, thus making it accessible to those who missed it the first time around." 
—David Sutton 

More info: anomia.info

Recorded between 2003–2004 using the Plogue Bidule software.

Evidence Of Things Not Seen

ANM043 George Chua — Gloria

'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)

The Aeolian Harp (also called Wind Harp) is a string instrument that is played by natural wind. It sounds like layered feedback or drones with rich harmonic textures that will change continuously according to the wind direction, strength and consistency. One day, I bought the materials at the local DIY store and built a small Aeolian Harp. I brought the harp outside on windy days, but it made no sound at all. Through trial and error, by altering the string materials, tension, and the angle against the wind, it finally produced a sound.

The harp resonates with the surrounding environment, changing from place to place. I put two lavalier microphones into each of its two holes to clearly record the tiny resonant sounds, without too much wind interference. What is intriguing to me is that the recording will inevitably include environmental sounds from near and far which are condensed and slightly modulated by the harp. In a way, I use the harp as a kind of transducer as well as sounding body to interact with the environment through the forces of the wind. The recordings themselves are ecological, meteorological and geomorphological observations at a certain time and place.


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http://www.gruenrekorder.de/?page_id=16674
http://shop.gruenrekorder.de/?full#Gruen_182

Path of the Wind | Eisuke Yanagisawa

This is an audio mix of the 4 elements from my sound installation/sculpture "Il tempo insassato che pur scorre" from 2020.

Background sound is played through the floor monitors, stereo, and they are placed on your left and right as you enter the room. This sound fills up the space like the light and opens it up beyond the walls of the gallery space, implying a reverberant, large, empty room/hall. The sound is composed by layering the multitude of oscillators coming from the EMS Synthi 100, covering each part of the spectra. 
The sound played through the speakers in front (which are covered by the cloth), are scattered sonic artefacts in low and mid registers, that should appear to be almost tangible and "real", as if something is moving beneath the cloth.
Devices hanging on the left and right wall are winding and unwinding the tape. They are sonified from within the box by the ready-made loops that consist of material produced by sampling the working procedures of the reel-to-reel tape recorder.

Durations of the tracks in the installation, differ from the ones in this mix which is made as an audio preview.

Installation was premiered at the gallery Weisser Elephant on January 2020 in Berlin, alongside the works by Alva Noto,  Robert Lippok, Katharina Bevand, Cecile Dupaquier, Anne Gathmann, Harriet Gross and Elliane Radiue, to whom this event was dedicated, celebrating her work in electro-acoustic music and her birthday.

Download

Il tempo insassato che pur scorre (sound part)

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

When ACL first started producing mixes, I knew that I didn't just want to invite artists and labels. We've always imagined ACL as a part of a broader community. As such I've often invited mixes from amateurs, from listeners and fellow critics. This mix is one of those.

Philippe Requena is a music lover who lives near Paris, and has been producing mixes casually for some time now, just putting them out once he's gathered enough tracks and samples. We will be featuring more of his mixes in the near future.

Water Be My Road Now

Philippe Requena presents 'Water Be My Road Now' [mix]

Handstitched* update: pre-order 25 October ->  

https://handstitched.bandcamp.com/album/paragraphs

https://vimeo.com/460924638

Emba  – “Paragraphs” is released in two limited editions, a digipak version, limited to 50 copies and a handmade edition, limited to 20 copies. Both editions come with artwork by Genoveva Kachurkova.

Emba is a collaborative project between Tim Diagram, UK and Mathieu Lamontagne who is based in Quebec, Canada.

Thanks for listening x

Emba - Paragraphs [Sampl3r]

Ned Lagin's Seastones is a pioneering electronic composition interweaving metaphors from nature, science, art and music and the origins of music. Reflecting the technology, science, modern art, new ecological awareness and optimism of the times and culture, Seastones embodies the history of electronic music by taking full advantage of tape music, analog synthesizers and computer technology to create pieces that are dynamic, rich and deep.

Originally released by the Grateful Dead's Round Records in 1975, Seastones' reputation as a gem of electronic music was further enhanced by the celebrity of the musicians who contributed to the source material. Seastones musicians include Ned Lagin (processed piano, clavichord, organ, prepared piano, electric piano, synthesizers), Jerry Garcia (processed electric guitar, pedal steel guitar, voice), Phil Lesh (processed electric bass), David Crosby processed electric guitar and vocals), Grace Slick and David Freiberg (processed vocals), and Mickey Hart and Spencer Dryden (percussion).

This new LP presents two crafted Seastones sets (Sets 4 and 5, 18 tracks) drawn from the entire Seastones composition and contains gorgeous extended processed vocals by Garcia, Crosby, Slick and Freiberg, and beautiful abstract instrumental passages by Lagin and all.

Ned Lagin - Seastones - Seastones 03 - LP available Nov. 3, 2020

_ph012 Cait Foran - '-2'

About this release: 

This compilation has been put together in order to raise awareness and/or raise money for the UK charity, Refuge. This means 100% of proceeds from all sales will go to them (after the standard deductions from Bandcamp and PayPal). 

It was 1971 when Refuge opened the world’s first safe house, so this year marks the 50th year they’ve been helping women and children escape a life of abuse and violence; the first to make the point that violence in the home was no longer “a private matter” for society to simply turn a blind eye. 

Refuge’s reputation of helping vulnerable people comes at a time where domestic violence (globally) has increased recently by nearly 30%, according to the UN; this is due in no small part to the government lockdowns brought on by the Covid-19 pandemic. Victims often now find themselves under constant surveillance by their abuser where phones are regularly checked and/or confiscated, making it harder than ever to call or text for help. 

refuge.org.uk 

| 

The title, Music for Another Sky, is derived from the 1890 poem There is Another Sky , by Emily Dickinson. It’s a poem where Emily is addressing her brother, yet it appears to tap into the same sentiment of hope I imagine considered by many a domestic violence survivor; the hope and possibility of living another life without fear or worry. 

There is another sky, 
Ever serene and fair, 
And there is another sunshine, 
Though it be darkness there; 
Never mind faded forests, Austin, 
Never mind silent fields - 
Here is a little forest, 
Whose leaf is evergreen; 
Here is a brighter garden, 
Where not a frost has been; 
In its unfading flowers 
I hear the bright bee hum: 
Please, my brother, 
Into my garden come! 

| 

Credits: 

Mastered* by Nathan Moody at Obsidian Sound 
obsidiansound.net. 

*Rodrigo Stradiotto & Karen Vogt - Noctilucent, mastered by Rodrigo Stradiotto 
(instagram.com/r_stradiotto) 

*Rosalina Teche - Slightly Affected, mastered by Francis M. Gri (krysalisound.com/mastering) 

Artwork/cover by J. Nathan Dziedzic 
instagram.com/formandtype 

|
all rights reserved

Music for Another Sky

Buy Compilation

'Silver' - Taken from 'Music for Another Sky' - [Mailbox, 2021]

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.

Yui Onodera - Entropy 9

Dragons Eye Recordings

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