this is my first time commenting but this track is by far very and very ...

Falling Through Holes Of Everything I Was

Laura Agnusdei - Matilde's Lemon Dance

E.T. is available on a vinyl compilation LP via Knekelhuis:
https://knekelhuis.bandcamp.com/album/va-and-felt-like (2021 remaster)

Please check also this awesome mix by Rone for Tsugi Mag. (n°66 - oct 2013) ; (E.T. included) https://www.discogs.com/Rone-Boarding-Pass/release/5033436.  With tracks by Autechre, James Holden, Clark, Caribou, Jon Hopkins, Downliners Sekt, Michel Banabila, Kuage, Rone, Blind Digital Citizen

And Felt Like...

E.T.

buy at bandcamp

E.T. (Knekelhuis, VA - 'And Felt Like...' / June 2021)

"Pre-Memory Fatal" is the opening track of Vanishing Standards III. The third installment of our compilation series releases on December 18 on tape & digital at: http://amekcollective.bandcamp.com

Artwork by Nikola Kostov.
Mastering by Marius Costache.

Vanishing Standards III

Deffektegg - Pre-Memory Fatal

Ceremonial Bells Ringing to a stop with car drive past at end thru rainwater with bird sounds - to inform media content creation - video, film, game sound design.

96kHz / 24Bit / Stereo / WAV

Royalty Free Sound Libraries (RFSL) by DrewCreate.com

Licensed Download

Ceremonial Bells Ringing To A Stop DrewCreate Royalty Free Sound Libraries RFSL 0140.WAV

05 Patrick Kelleher and his Cold Dead Hands - Broken Up Now

We can't say enough how much we love this New Waveish synth pop tune. Basso find!

"Intersection With Loneliness" - Ungoogleable Private Press LP - Germany, 1984

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]

Ben Vida
Reducing The Tempo To Zero
SHELTER PRESS / SP108

Recorded 2016-2019 New York
Mastering: Stephan Mathieu
Artwork: Xavier Antin

The theme of time is unavoidable when approaching Ben Vida’s Reducing the Tempo to Zero, his latest endeavour with Shelter Press. A singe work, pushing the bounds of Digital and Analog Synthesis, which stretches to just over 4 hours in length, its realization is the product of years of effort - the process of recording and editing extending across the period between 2015 and 2019, offering momentary conclusion to an arc of ideas and practice which which first appeared on Damaged Particulates, issued in 2016.

RTTTZ is a temporal nesting doll - a meditation, conceived by Vida as a part of a daily practice which embarked upon sustained periods of focused creation and listening. While the product of a deeply personal, inward journey, similar to iconic efforts by composers like Dennis Johnson, La Monte Young, Morton Feldman, and Éliane Radigue, it strives to unravel the standards and expectations applied to musical and experiential time, taking the relation to sonic phenomena into an almost transcendental realm. Immersive in scale and endurance, through a deep and radical sensitivity to material and structural hybridity, Vida’s return to the durational drone based forms - first explored as a member of Town and Country during the mid-90s - drives the ear toward the solace found through developmental and intimate relationships with the fleeting, granular, and discrete, transmogrifying smallest detail into a monumental event.

Despite being the “complete” RTTTZ document, made concrete by the process of recording, this 4+ hour iteration carries the shifting ghosts of other beings and times. It represent only one of many possible, existing beside a free standing phonetic, text-based score, and a near infinite number of evolutionary, live variations - instrumental and vocal versions, as well as those which spring from the combination of instrumental and vocal ensembles of varying sizes, each time of different length, changing and taking on new dimensions determined by the its performers. In a sense, each version is simultaneously free-standing and finished, while capable of reconfiguration and being made anew - a mirror for its shifting passage through the ear, which triggers multiple, concurrent images of other times and existence of itself.

While the duration, structure, and relatively of RTTTZ focuses attention toward the internality of what it is, like all great art, they are simply a means to an end. The crucial themes lay with the cumulative effect of their sum - the power of phenomena and highly individualized experience. It is an organized, sonorous space which is to be occupied and within which to get lost, shifting the ownership, whether embarked upon actively or passively - both as valid and rewarding as the next - to the listener alone, sculpting a subjective expanse which denying concise location and, in so doing, undermines the presumption of the capacity to be the same thing twice.

Overwhelmingly beautiful in its oscillating harmonics and punctuation of pulsing texture and tone, each stage of its evolution moving at a glacial pace, represents a monumental achievement from Vida within the broad landscape of experimental and avant-garde sound. Reducing the Tempo to Zero was mastered by Stephan Mathieu, and is released by Shelter Press in both digital and limited USB card editions.

Reducing The Tempo To Zero

BEN VIDA 'Reducing The Tempo To Zero' (EXTRACT)

The Duo Ludwig Wittbrodt, that‘s Emily Wittbrodt on cello and Edis Ludwig on laptop and drums. The two develop a thicket of sounds and melodies that absorbs us in a completely unpretentious way and fills us with associations and warmth. Sometimes in the jungle, sometimes under water in the desert, we are reminded of the achievements of both Krautrock and Neue Musik, of early electronic music as well as Drone and Ambient.

At first glance, Emily and Edis seem to be an unequal couple. She has an academic background as a cellist, he is self-taught with his main instrument being computer and programming. She is active in Free Jazz, he drums with the rock band Düsseldorf Düsterboys. On the other hand, both have been active in the Free Improv scene in the German Rhine-Ruhr region for years - for example in ensembles such as The Dorf or Hilde (Emily) and Nasssau or Transport (Edis).

After some concerts and a first tour now is the time for the release of the group‘s debut album. Ludwig Wittbrodt will be released on cassette (yes, on real music cassette) and of course digitally. These four tracks, which evolved from a mixture of improvisation and joint composing, show the musical communication between Edis and Emily, but also the fun of combining moods, styles and instruments, which, according to our dusty listening habits, are surprising and irritating in a pleasant way.

Ludwig Wittbrodt

Ludwig Wittbrodt - Prélude, All Deserts Filled With Water

Matière Mémoire presents the MMXX Series.
In anticipation of the year 2020, Matière Mémoire asked 20 great artists to create an original 20 minutes piece and an artwork.

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

ECSTATIC

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