Lend Me Your Radio - May 19

+ Buy: https://fanlink.to/sun-inside-remixes
+ Info: https://subtempo.com/releases/sun-inside-the-sun-remixes/ 

‘Souns - Sun Inside The Sun (The Remixes)’ is a collection of 4 unique reworks of Souns’ original song ‘Sun Inside The Sun’ taken from the Aquamarine album originally released on December 2017. It's forthcoming on Subtempo, and will be out in May 31st. 

Heralding on relationships that have developed over the years, @michaelred handpicked @synkro, @loscil and @phaeleh to remix his ambient material that he composes under the @souns-3 alias. Michael has shared the studio, or the stage with all three of them in multiple occasions, making this collaboration a natural continuation of their work together. 

Loscil sets the tone with the first remix. The ambient music maestro, who is widely recognized as the king of dynamics, continues to redefine the boundaries of the genre with this one. Loscil’s remix allows time for the main idea of his song to develop, with mysterious melodic hints as to what’s to come. In his usual fashion, the use of space and deep pulsating rhythm compound, driving the track into an entirely new landscape, transporting the listener into far away northern lands, where whales live and fog covers the calm oceans.

Souns - Sun Inside The Sun (Loscil Remix)

Small multitracked thing. Buchla 208r and guitar.

Nytt Liv

Space Mountain
Doomed Galaxies Unwind
PYR-014
_______

Limited CD/digital
https://pyramidblood.bandcamp.com/album/doomed-galaxies-unwind

_______

1 - Dying Embers
2 - Last Walk
3 - Long Goodbye
4 - Disappeared into the Rain
5 - Ley Lines
6 - Forever Again
7 - Towers of the Sunset

Azure clouded sky
Yellow leafed earth
Autumn ripples across
waters skimmed with cool jade mist
Hills glow in slanting sunlight, sky blurs into sea -
Yet the fields, ever verdant, still
Fall cruelly beyond dusk.

- Fan Zhongyan

_______

Recorded 2016-2019
Mastered by Rafael Anton Irisarri
Photography by Paul Duchnay
Released May 6, 2019

_______

http://spacemountain.org
https://soundcloud.com/space-mountain

Space Mountain - Dying Embers

ORDER: https://ekinfil.bandcamp.com/album/koma

Ekin Fil is the solo moniker of Ekin Üzeltüzenci from Istanbul and 'KOMA' is her first release on Stockholm imprint Possible Motive.

"KOMA is an album which is based on the combination of separate songs made in various times in the last two years. Songs that sometimes include unwanted noises caused by my broken sound card, songs that I left unfinished with the intention of finishing later. The sleepy and still mood that's all over the 7 tracks may be the response to the hard times that I was not able to react sober to until recently."

Koma

Ekin Fil – Speak In

PREORDER/ https://shelterpress.bandcamp.com/album/the-flower-and-the-vessel-2

Félicia Atkinson  'The Flower & The Vessel '
Shelter Press / SP110

French poet and ASMR auteur Félicia Atkinson has frequently fixated on the elusive interwoven relationship between microcosms and macrocosms – how even the quietest creative act ripples outward in unforeseen ways, a whisper with no fixed meaning. Her latest work pursues this notion in a more literal and lasting fashion, as it was crafted while pregnant on tour, in impersonal hotel rooms in foreign cities. She describes it as “a record not about being pregnant but a record made with pregnancy.” Each day and night, finding herself far from home, she asked herself “What am I doing here? How can I connect myself to the world?” The answer gradually revealed itself: “With small gestures: recording my voice, recording birds, a simple melody.”

In truth there is nothing simple about The Flower & The Vessel. The album’s 11 songs span a vast pantheon of whispering textures, opaque moods, and surreal spoken word, leading the listener through a mirrored hall of beguiling mirages. Atkinson cites a trio of French classical compositions from her childhood as formative influences on this particular collection: Maurice Ravel’s “L'enfant et les sortilèges” (“a scary opera for kids”), Debussy’s “La Mer” (for its union of narration and music) and Erik Satie’s “Gymnopédies” (as an exercise in negative space, irony without cynicism, and “melody with doubt”). There’s certainly a shade of classicism woven within these tracks, however veiled, abstracted, or unorthodox. Melancholic piano motifs repeat then retreat into a radiant frost of shivering frequencies; processed voices recite cut-up poems and interviews over delay-refracted Rhodes and Wurlitzer; iPad gamelan patterns flutter from meditative to melancholic and back again, offset by pointillist patches of delicate software synesthesia.

Although much of Atkinson’s past discography is shaped by speech and the lyricism of language, The Flower & The Vessel ventures farther into silence, absence, and voiceless wilderness. Among her sources of inspiration were “women who wonder, dream, and create vacant spaces in their art,” as well as Ikebana flower arrangements, which reflect her own relationship with listening: “structure combined with everyday noises, selecting them to make a sparse music bouquet.” Field recordings from Tasmania and the Mojave Desert murmur beneath hushed reverberations of gong, vibraphone, marimba, softly processed into an elegant emptiness, alternately eerie and serene.
 
Her mode of minimalism has long been one of reduction, riddles, and curation, but here Atkinson’s synergy feels close to apotheosis, emotive but ambivalent, a ceremony of expectation and invisible forces. The 19-minute closing collaboration with SUNN O))) guitarist Stephen O’Malley, “Des Pierres,” is one of the album’s few pieces tracked in a proper studio (Music Unit in Montreuil, France) but it broods and burns with the same subliminal majesty as the rest of The Flower & The Vessel: an ember in amber, seeds planted in shifting sands. Atkinson’s voice flickers like a flame, framed by slabs of shadowy feedback. Her process may be personal is but its impact ripples to the edges of existence: “How does the act of creation connect us, not only to history, but to the cosmic? It’s a process of taking, and then giving back. It makes us belong to the world.”

The Flower and the Vessel

Shirley to Shirley

FELICIA ATKINSON — Shirley To Shirley (SP110)

Taken from the upcoming album 'Annoying Tyrannies' on Fluid Audio...

www.fluidaudio.bigcartel.com/mailing-list

Annoying Tyrannies

Tobias Hellkvist - Annoying Tyrannies: Part 2 (Excerpt)

Taken from the album 'Simian Angel' released as LP, CD and Download

Oren Ambarchi 'Simian Angel' (excerpt) (EMEGO 264)

Taken from:
Not Glass - Forma /  Ήθος LP & download [Ecstatic Recordings, 10/05/2019]

• Immersive, theatrical collab by Not Waving and Jay Glass Dubs, aka Not Glass
• Inspired by quotes by classical ancient Greek/Latin poet-philosophers Ovid & Heraclitus 
• Mystic kosmiche ambient meets inverted dub and tribal rhythms
• Mastered at vinyl cut at D&M, Berlin 

Not Glass is the wonderfully lofty, classically-rooted debut collaboration between Alessio Natalizia (Not Waving) and his longtime correspondent Dimitris Papadatos (Jay Glass Dubs), paying tribute to Latin and Greek authors Ovid and Heraclitus in a suite of dramatic electronics and cryptic rhythms comparable to a theatrical soundtrack.

Knowingly, ironically pretentious, yet serious with it, ‘Forma’ is the result of years of daily Facebook chats between the London and Athens-based artists where they cemented the album’s concept around key quotes by the legendary poet/philosophers, who hail from their respective homelands of Italy and Greece. The results are in effect a spellbinding attempt to transmute those notions within the collaborative, contemporary framework of their music, using patented palettes of hardware, vocals, and FX to render and reflect core classical mythological and philosophical ideas about drama, love, metaphysics, cosmology and the “unity of opposites”.

On this timeless plane, Natalizia and Papadatos both step outside of themselves to find “what opposes unites”, spaciously consolidating their typical, yet contrasting, rhythm-driven approaches in a reverberant, often beat less sphere of exploration. Removed from their usual handrails, the artists operate at their most open-ended and subtly suggestive, amorphously shapeshifting from gloaming shadowplays of synth and keys to investigate arcane percussive impulses and iridescent ambient whorls.

The result is a perfect, finely shaded marriage of their mutually esoteric, outsider Southern European energies, which intuitively acknowledges and inhabits the paradoxes of their respective styles. The illusively static yet mercurial ebb and flow of the atmospheric intro ‘Fallite fallentes’ sets the scene, where ‘Dum loquor, hora fugit’ invokes a viscous but brittle tangle of wide bass and pointillist rhythms beside a stately cello vignette ‘Ludicrum_χορικόν’ that recalls aspects of Scott Walker’s mystic charm ’Soused’. The rapid arps and slow moving, glassy pads of ‘Pauper ubique iacet’ conjure a sublime tension that becomes diffused into the cavernous, hollow dub dread of ‘Ut ameris, amabilis esto’, possessed with its throaty, processed vocal, and the lonely strings and plasmic electronics of ‘Forma bonum fragile est’ connotes a psychedelic coming-to-terms with their artistic/philosophic duality.

Not Glass - Fallite fallentes / Ἔφη ὡς ἦθος ἀνθρώπῳ δαίμων [ELP042]

Taster of the new album by Richard Skelton, entitled 'Four', forthcoming on digital via Aeolian Editions.

Richard Skelton ~ Four (Excerpts)

HELM - Chemical Flowers
Format: LP / CD / Digital
Cat.No: PAN 99
Release Date: 17 May 2019
Purchase: bit.ly/2Uxqs9z / bit.ly/2UpJ0bA

Luke Younger returns to PAN with an eight-track album of his most direct work to date. Composed alone at NO studio in the Essex countryside, to start an album with a piece called ‘Capital Crisis (New City Loop)’ seems an intentional misnomer. Long, sustained periods in the rural studio setting see Younger working with an array of fragmented, disassociated sound sources to build upon 2015’s Olympic Mess. It shares a similarly inclined vision of the urban environment, but here Chemical Flowers makes reference to paradoxical notions of authenticity and creative practice by way of questioning the structures around us. Collages are assembled and dismantled, temporal and spatial boundaries fluctuate and movement is an overarching theme.

Surrealist drowned world atmospheres sculpted far enough away from the source of inspiration leave plenty of room for ambiguity. The nocturnal nature of the recording process is self-evident, and pieces like ‘Leave Them All Behind’ tap into a deep psychedelic undercurrent. Confused narratives, emotions and aleatory hallucinations ebb and flow throughout. ‘I Knew You Would Respond’ evokes murky soundtrack terrain with eerie repetitive strings and ambient respite, disrupted periodically by brief bursts of granular noise. It’s one of the records most unnerving moments, possibly as it’s one of the most recognisably human.

The album navigates dense passages with recurring signifiers. Hollow percussion, modulating delay and curious field recordings come and go, maintaining a perpetual state of flux where nothing stays the same for long. The drowned world theatricals return on the swamp-like ‘Lizard in Fear’ whilst string rhythms creep in on the penultimate track to incite momentary electroacoustic harmony. Floating synthesis slowly washes over and the title track unfolds - five minutes of reverb-laced portamento, visions of decay and Editions EG influenced
world-building. Movement is key.

Chemical Flowers features string parts arranged and recorded by JG Thirlwell (Foetus / Manorexia / Xordox). Additional cello played by Lucinda Chua and saxophone by Karl D’Silva. The album is mastered by Rashad Becker, featuring artwork by Johannes Schnatmann & Bill Kouligas.

http://p-a-n.org

Chemical Flowers 

HELM - Body Rushes (PAN 99)

stream the LP and purchase here: 
https://sontagshogun.bandcamp.com/album/it-billows-up

It Billows Up

PRE-ORDER available here : https://manyfeetunderconcrete.bandcamp.com/album/taking-refuge

Xu is the solo project from Nicola Fornasari an Italian musician and composer born in 1977. 
He’s also part of the following bands: La Petite Vague, Xu(e), Twyxu, Zero Wait enSemble. 

His works have been released on Audio Gourmet, Cathedral Transmissions, Eilean, Flaming Pines, ManyFeetUnder, Twice Removed and more. 



OUT on: May 27, 2019 

mfu/c017 

Nicola Fornasari: synthesizers, tapes, looper and fx pedals. 
Recorded and mixed between April and August 2018. 

Photography by Andrea Poli. 
produced by manyfeetunder 

www.substance.it 
xu-substance.bandcamp.com 
soundcloud.com/nicola-fornasari 
manyfeetunder@gmail.com 
manyfeetunderconcrete.bandcamp.com 
manyfeetunder.bandcamp.com

Xu "Melasti" excerpt from "taking refuge" [mfu/c017]

from "boneshaker" [CZSZ028]

coming soon on czaszka.bandcamp.com

http://www.marklyken.com/

Mark Lyken -- boneshaker (excerpt)

In progress material for the "Loss" project

ACCESS

THERE IS ANOTHER WORLD AND IT IS THIS ONE

(Rekem 14)

Back in 1998, and starting as a play on the big operas of American Minimalism (Philip Glass’ Einstein on the Beach and John Adams’ Nixon in China), Costis Drygianakis, together with Thanasis Chondros and Alexandra Katsiani (two thirds of the group Dimosioypalliliko Retire), devised a radio opera based on their own exotic studio travels and throughout the musics of the world. Built around an improvised libretto by Thanasis and Alexandra, Costis’ work develops emphatically though with a light-hearted touch, oscillating between lengthy piano-based structures, powerful instrumental crescendos and a creative use of early digital tools. Chondros and Katsiani on the Mountain is an intricate, rich, and quietly profound piece, yet one that avoids the hybris that comes together with the notion of the “grand work”. In this it stands apart from its contemporaries in 1998, as much as it does today. It also provides a high benchmark for the artists’ careers, as well as for listeners invested in all sorts of sonic explorations.

Whether it be through Optical Musics, his subsequent compositional work, occasional collaborations, or his rich contemporary ethnomusicological research, Costis Drygianakis’ name is nowadays firmly established within the Greek music scene and beyond. Through an equally rich trajectory, Thanasis Chondros and Alexandra Katsiani appear at times as musicians, artists or performers, maintaining a fresh and subversive approach towards artistic expression and work. One of the many non-conformist ideas that came as a result of the meeting of the two is contained in this CD. The work first appeared in Volos’ Municipal Radio in 1998 and in a limited edition on Alli Poli in 2006. It is reissued here in an extensive bilingual edition containing the libretto and freshly commissioned texts. 

Audio remastered by Stephan Mathieu. Accompanying texts by Areti Leopoulou, Costis Drygianakis, Thanasis Chondros and Alexandra Katsiani, Kostis Kilymis.

rekem.org/Costis-Drygianakis-Chondros-and-Katsiani-on-the-Mountain

Costis Drygianakis - Chondros and Katsiani on the Mountain (excerpts)

heartfelt (etude)

PREORDER/ https://shelterpress.bandcamp.com/album/the-flower-and-the-vessel-2

Félicia Atkinson  'The Flower & The Vessel '
Shelter Press / SP110

French poet and ASMR auteur Félicia Atkinson has frequently fixated on the elusive interwoven relationship between microcosms and macrocosms – how even the quietest creative act ripples outward in unforeseen ways, a whisper with no fixed meaning. Her latest work pursues this notion in a more literal and lasting fashion, as it was crafted while pregnant on tour, in impersonal hotel rooms in foreign cities. She describes it as “a record not about being pregnant but a record made with pregnancy.” Each day and night, finding herself far from home, she asked herself “What am I doing here? How can I connect myself to the world?” The answer gradually revealed itself: “With small gestures: recording my voice, recording birds, a simple melody.”

In truth there is nothing simple about The Flower & The Vessel. The album’s 11 songs span a vast pantheon of whispering textures, opaque moods, and surreal spoken word, leading the listener through a mirrored hall of beguiling mirages. Atkinson cites a trio of French classical compositions from her childhood as formative influences on this particular collection: Maurice Ravel’s “L'enfant et les sortilèges” (“a scary opera for kids”), Debussy’s “La Mer” (for its union of narration and music) and Erik Satie’s “Gymnopédies” (as an exercise in negative space, irony without cynicism, and “melody with doubt”). There’s certainly a shade of classicism woven within these tracks, however veiled, abstracted, or unorthodox. Melancholic piano motifs repeat then retreat into a radiant frost of shivering frequencies; processed voices recite cut-up poems and interviews over delay-refracted Rhodes and Wurlitzer; iPad gamelan patterns flutter from meditative to melancholic and back again, offset by pointillist patches of delicate software synesthesia.

Although much of Atkinson’s past discography is shaped by speech and the lyricism of language, The Flower & The Vessel ventures farther into silence, absence, and voiceless wilderness. Among her sources of inspiration were “women who wonder, dream, and create vacant spaces in their art,” as well as Ikebana flower arrangements, which reflect her own relationship with listening: “structure combined with everyday noises, selecting them to make a sparse music bouquet.” Field recordings from Tasmania and the Mojave Desert murmur beneath hushed reverberations of gong, vibraphone, marimba, softly processed into an elegant emptiness, alternately eerie and serene.

Her mode of minimalism has long been one of reduction, riddles, and curation, but here Atkinson’s synergy feels close to apotheosis, emotive but ambivalent, a ceremony of expectation and invisible forces. The 19-minute closing collaboration with SUNN O))) guitarist Stephen O’Malley, “Des Pierres,” is one of the album’s few pieces tracked in a proper studio (Music Unit in Montreuil, France) but it broods and burns with the same subliminal majesty as the rest of The Flower & The Vessel: an ember in amber, seeds planted in shifting sands. Atkinson’s voice flickers like a flame, framed by slabs of shadowy feedback. Her process may be personal is but its impact ripples to the edges of existence: “How does the act of creation connect us, not only to history, but to the cosmic? It’s a process of taking, and then giving back. It makes us belong to the world.”

The Flower And The Vessel

Moderato Cantabile

FELICIA ATKINSON — Moderato Cantabile (SP110)

This album focuses on a derelict and abandoned holiday resort at Laem Thian bay on the east coast of the island of Koh Tao in Thailand. The resort is situated in a small cove that is only accessible on foot via an overgrown path and a walk of several miles - a journey very few tourists bother to make. It is clear at first sight that the fading white building has been vacated for some time. The concrete structure opens out onto a small sandy beach that would have provided an idyllic holiday setting at one time. A number of palm-thatched holiday cottages with dilapidated roofs slide down the hillside. There are signs of vandalism; graffiti decorates the walls, the remains of camp fires, broken glass and other detritus litter the floors - but remnants of the previous occupants also remain. Children’s toys, kitchenware, hand written notes, menus, mattresses, a plastic telephone and four cassette tapes - rusty, caked in sand, weather damaged and corroded by the humid salty sea air. 

There is a haunting quality to the location that left a deep impression on me. The sense of isolation and abandonment it engendered was in stark contrast to the rest of the island, and indeed the rest of Thailand as I experienced it. This feeling stayed with me and in some way it permeated the rest of my stay in the country. It is that feeling that I wanted to convey through this work.
Mark Vernon.
------------------
Mark Vernon is a Glasgow-based artist whose work exists on the fringes of sound art, music and broadcasting. At the core of his practice lies a fascination with the intimacy of the radio voice, environmental sound, obsolete media and the re-appropriation of found recordings. He incorporates these diverse elements into radiophonic compositions for broadcast, fixed media and live performances. His solo and collaborative music projects have been published through labels including Kye, Staalplaat, Ultra Eczema, Entr’acte, 3Leaves, Staubgold and Gagarin Records, as well as a series of small CDR and LP editions on his own meagre resource imprint. Along with Barry Burns Mark produces the Radiophrenia 24 hour radio festival.

The Lost Resort - Mark Vernon - Ribbons of Rust out June 26

Selections from 100 Models of Hegikan Roku is the second in an ongoing series of archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows last year’s Selected Early Keyboard Works and anticipates Blank Forms’ publication of Poësy Matters and Other Matters, a two-volume collection of Hennix’s writing.

Upon her return to Sweden from New York in 1971, Hennix sought to form a large ensemble inspired by her encounters with La Monte Young and recordings by the Theatre of Eternal Music. She enlisted her brother Peter Hennix, Hans Isgren, and a dozen Swedish jazz musicians she had previously worked with, naming the group and its pieces of music after the time and days of the week according to the Angus Maclise calendar (e.g. “The Pointed Time Bus”). Frustrated with the jazz musicians’ inability to comprehend and play the intervals of just intonation, she pared the group down to the trio of herself, her brother, and Isgren and christened the live-electronic ensemble The Deontic Miracle. 

In 1976 The Deontic Miracle performed Hennix’s original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer’s Lattice at the Moderna Museet in Stockholm. With Hennix on amplified Renaissance oboe, live electronics, and sine wave generators, her brother on amplified Renaissance oboe, and Isgren on amplified sarangi, the recordings presented here of the group’s first and only public concert see them channeling late period John Coltrane and the sopranino and soprano saxophone playing of La Monte Young and Terry Jennings in the Theatre of Eternal Music. With titles taken from Japanese Gagaku, “Music of Auspicious Clouds” and “Waves of the Blue Sea” are expansive drone improvisations, breathing with the pulsating lull of cicadas’ organic sonic latticework. Now accessible for the first time, these recordings by what Hennix has called “the most rejected band ever formed in Sweden” continue to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.

Catherine Christer Hennix (b. 1948) started her creative career playing drums with her older brother Peter growing up in Sweden where she saw jazz luminaries such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform at the Golden Circle. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she helped develop early synthesizer and tape music. After traveling to New York In 1968, she met Fluxus artists Dick Higgins and Alison Knowles and developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath, and she would later study intensively under him. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage. She currently resides in Berlin, Germany, where she is active as a composer and writer.

Lend Me Your Radio - May 19

Julian / LMYE