Lend Me Your Radio - Oct 20

Purchase: bit.ly/35jLaxx
Catalog #: GN63
October 1, 2020
2xCASS+DIGI

The midnight hour crept unto thee with hasty caution, revealing 'A Little Night Music: Aural Apparitions from the Geographic North', our third putrid prowl into Halloween-inspired sounds to torment and tantalize throughout the season. For this bout of distinguished dementia, we culled 31 brand new tracks of haunted hysteria conjured by some of the most alluring ambientists and outer auteurs from around the world. 

Spanning over two hours across two cassettes, 'A Little Night Music…’ unfurls itself in a literary horror structure, appearing and disappearing through a stirring Prologue and Epilogue by London-based cellist Oliver Coates, with each side of the cassettes introducing its Chapter with a chilling dirge courtesy of the inscrutable Geographic North House Band.  

What fills the ensuing pages is a mirthful tale concocted by an assembly exploring a realm all at once mournful and fatalist at its core. Entries from Clarice Jensen, Malibu, and the collaboration of Like a Villain and Christina Vantzou bring about endless glacial landscapes accented by pitch-grey skies. Conversely, transmissions from Michael Valentine West, M. Sage, Gregg Kowalsky, and Austrian ambient stalwart Fennesz explore richly textured mines of foreboding glee. 

Suspicion is the word when considering Zelienople’s eerie horse-carriage clip-clop, Nick Malkin’s neon-lit noir-jazz, or Carmen Villain’s gripping dub excursion. Elsewhere Ki Oni, Takagi Masakatsu, and Mary Lattimore (joined here by Paul Sukeena) provide glimmers of warmth amidst a tortured chill. 

Notable is the resurrection of Lotus Plaza and his solemnly hopeful piano composition, while barren hallucinations courtesy of Alex Zhang Hungtai, Ilyas Ahmed, and Danny Paul Grody set the stage for a third act confrontation from Atlantans Fit of Body and Algiers, providing a one-two serving of sensual unrest and cautionary homily.  

With hope and resolve shimmering through the final moments of our journey, know that all proceeds from the digital and cassette editions go directly toward Feminist Women's Health Center, an Atlanta-based nonprofit providing safe, accessible, and compassionate abortion and gynecological care to all those who need it without judgement.

feministcenter.org

Meitei - "Okue"

Filaments

Filament I

Inspired by her teenage experiences and the stories of others with a similar background, Bangladeshi-Australian sound artist Shoeb (Sia) Ahmad explores the blooming of one’s inner sexuality, meditations on intimacy and exploration of personal relationships in im/modesty, a 60 minute sound work that uses a text narrative for three voices to guide the listener through a psycho-geographic trip of one’s sub-continental heritage, written for and manipulated from Indian electronic instruments, harmonium and percussion as well as field sounds recorded in southern India and Bangladesh.

‘im/modesty’ was originally developed as a multi-speaker installation during a residency in Kerala, Southern India in 2016. Upon commission from the Australian Art Orchestra, the original installation work was reworked into a semi-composed/semi-improvised work for small ensemble and premiered as part of their Meeting Points series at the Arts Centre Melbourne in December 2018.
im/modesty will be released during the worldwide celebration of Transgender Awareness Week 2020 and this album highlights both Flaming Pines and Australian Art Orchestra's ongoing commitment to providing a platform for diverse voices to share their narratives through music.

About Sia Ahmad
Sia identifies as a person of Bangladeshi heritage and a transgender woman. Her music is known for exploring deeply personal experiences and vulnerabilities, in an evocative mix of acoustic and electronic indie pop. She has a rich and extensive background in Australian music, creating idiosyncratic works over the last decade, mainly as a solo artist under the name Shoeb Ahmad, a name she has continued to use for im/modesty.
Using guitar, keyboard, voice and electronics, she works both as singer/composer and improviser when performing solo and in collaboration. She has released a diverse range of original music while also working on sound design for dance/theatre, installation pieces and contemporary chamber composition.
Sia has performed throughout Australia, Japan, New Zealand, the UK and the SE Asian region as a solo artist and with groups such as Sensaround, Spartak and Tangents.

im/modesty (excerpt)- Shoeb Ahmad & Australian Art Orchestra  - out November 16

from https://oberlin.bandcamp.com/album/live-in-a-corridor

Live In A Corridor

Market Song (album-dl see info)

Oaken Palace Records proudly presents I Can Wait, a new full-length album by Left Hand Cuts  off the Right (aka Robbie Judkins), a sombre but comforting, beautifully drifting set of four  pieces for zither, melodica, synth and mbira. The quartet of tracks was recorded in 2018 but  appears now as a timely sonic missive that absorbs a sense of individual uncertainties amid a  collapsing wider world, but provides a response that reaches out to create a haven of calm,  reflective resonance. 

Robbie says of the recordings, “During bouts of depression I have found playing simple,  repetitive and attentive melodies to help - it allows me to focus on listening and playing in a  reciprocal way. This has often evolved into me developing and adapting these pieces to become  listening experiences at times when my mind needs to be somewhere else.” 

The album unfolds serenely over thirty-five minutes, constructed of faint chiming, delicate  drones and soft crackles. Patient and meditative, it gives the impression of computers in an  office talking to each other quietly at night-time, or road-sweepers and rubbish lorries  murmuring in their sleep, the peaceful breathing of a tired city.

Left Hand Cuts Off The Right dedicates OAK-019, I Can Wait, to the Pied Tamarin(Sanguinus bicolor), a critically endangered monkey whose home in a small area of the Brazilian Amazon is severely threatened by deforestation and habitat destruction. All proceeds from tape sales will be donated to its conservation and protection. 

Oaken Palace Records is a registered UK charity (#1154786), raising  
money for environmental causes through releasing drone records  
dedicated to endangered species. Since 2012 the label has donated more  
than £15,000 to conservation organisations around the world.

I Can Wait

I Can Wait 2

fuck it i'm singing no autotune. i fucked up the lyrics idk XD.

in bloom

Giuseppe Falivene - Echoes, diffusions
CD/Digital

Order one of the limited edition CD packages, hand made, hand numbered, 30 copies:

https://shimmeringmoodsrecords.bandcamp.com/album/echoes-diffusions

Releases October 29, 2020

All tracks by Giuseppe Falivene 
Mastered by Giuseppe Falivene

Giuseppe Falivene - Echoes, diffusions (Album Preview)

_ph011 Jordan Christoff - Плаващ

www.facebook.com/nadiakhanmusic/
www.facebook.com/scissor.and.thread.nyc/

Nadia Khan returns on Scissor and Thread for another sublime mini LP, Port Ana. Based in North Carolina, Khan first drew a lot of attention via a cassette release on Where To Now? Records in 2015. 
Her sophomore statement was the beautiful In Gleam released in 2018 on Francis Harris’ Brooklyn-based label, which set the tone for these five tracks of meditative music. 
The title track Port Ana opens the journey - a gentle, droning soundscape with effortlessly bewitching glints of melody. 
Conversation follows on, drawing on loops and textures to create the background for a deep, pulsing kick drum. The sounds shift and evolve, leaving a hazy sense of movement to drift away to. 
Next up is Objects In Form which presents a fragile chord progression that barely holds itself together, surrounded by shifting pads and swathes of reverb. 
Rain Again is presented here in two versions. The original combines ethereal sounds, weightless and adrift, while the Lawrence remix firmly grounds the track with a hypnotic, deep groove. The Dial boss provides another remix for the digital release that further plays with the textures of the original to create something that works both for an open minded dancefloor and as a home listening experience.

Port Ana

Nadia Khan - Objects In Form

_ph012 Cait Foran - '-2'

ʼIs My Destroyerʼ unfolds like a story arc, always filled with a sense of time and direction as ideas morph, grow, disperse and rekindle; with key pieces like ‘Palaceʼ these ideas seem unbound, bursting out of their seams with emotional grandeur, elegance and passion, while other works such as ‘Orioʼ or ‘The Towerʼ offer sincere moments of reprieve.

https://soundcloud.com/vaagner

Premiere: Blessed are the Hearts that Bend - Kaal [Vaknar]

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

Raft of Trash is a generative music project exploring the sounds of systems using the natural rhythms of environmental dialogue in the world-building game SimCity 3000. It is a collaboration between sound artists/musicians Andrew PM Hunt (aka Dialect) and JC Leisure, and designer Thom Isom.  

Like the group’s early EPs, their debut album Likeness on the Edge of Town showcases the breadth of possibilities emerging from their unique process. Whilst playing SimCity 3000, the in-built sound effects of the game are converted and repurposed into MIDI data which is then fed to Hunt and Leisure's synths and samplers in real time. The resulting soundscape, imprinted with the dynamics of a simulated environment, is then augmented with live guitar, spoken word and field recordings to create an uncanny collage of wild synthesis, experimental narrative and bending, viscous guitar.  

Inspired by Fluxus artist Alison Knowles, the spoken word passages sprinkled across the record act as part travel journal, part system theory field guide as “someone guiding you through the simulated desert landscape, and through some kind of inner journey”. Exploring for instance the connections between the irregularities we discover in our functioning bodies and the impact of environmental influences or describing the fullness of the reality of stopping at a truck stop, these passages are an illuminating exploration of the complexity of living systems and real-life situations. Subtle musical references to Americana and sounds sourced from the desert around Joshua Tree contribute to a journey-like mood throughout the record. 

Musically, the record remains in largely abstract territory. Synths sprawl, crawl and fly above a sonic bed of creaks, ripples and bleeps; nothing is at it seems. This ambiguous relationship between the organic and the synthetic further highlights the themes explored by the group.  

Releasing in full on November 20 2020, as a limited edition poster and as digital files. 

Purchase on Bandcamp: https://raftoftrash.bandcamp.com/album/likeness-on-the-edge-of-town

Raft of Trash - Sans Sherif at the Painted Oasis

This song, which was originally supposed to be featured on a compilation, was ultimately scrapped for being too "dark". The bulk of this track was recorded in April of 2020 and then altered, possessed, exorcised, and eventually mastered by Sam Regan in October of 2020.

Lend Me Your Radio - Oct 20

Julian / LMYE