Name: Bernard Fort 'Fractals 1' (REGRM 024) by Editions Mego in Recollection GRM
Duration: 3 min 15 s
Description: Taken from the album 'FRACTALS/Brain Fever' released as LP and Digital.

Recollection GRM

DAVID GRANSTRÖM, Empty Room - LP

Release date - April 2th 2021
Catalogue nr. - HG2102
Format - Vinyl / digital
Hallow Ground

hallowground.bandcamp.com

Tracklist:
1) Obsidian 09:22
2) Aeon 10:56
3) Sapphire Visions 04:50
4) Occultations 10:08
5) Transience 04:45

Credits:
All tracks composed, recorded, performed and mixed by David Granström 
Mastered by Giuseppe Ielasi
Photography by Aron Mattsson
Cover design by Greenpointless

///
On »Empty Room,« David Granström works with slow transformations, cyclical and isometric patterns as well as just intonation as a way to create harmonic stability, allowing his long-form pieces to develop their own unique temporal and spatial qualities. A prolific figure in Stockholm’s experimental drone scene and a collaborator of Hallow Ground label mates Maria W Horn and Mats Erlandsson, the Swedish composer navigates through moments of quietude and crushing volume on these five tracks. Sonically and atmospherically, the pieces on »Empty Room« simultaneously call to mind Fennesz’s most meditative work or the physical experience of seeing Sunn O))) live, blending guitar recordings and synthesised sounds with forceful effects similar to those of Mario Díaz de Leon’s Oneirogen project while still being as moving and delicate as Alessandro Cortini’s solo work. The album is marked by melodies and harmonies that are the product of a peculiar working process that turned the composer into an intent listener collaborating with, rather than simply using technology. 

Having been invited by the self-organising artist group The Non Existent Center for a residency to Ställbergs Gruva, a defunct iron ore mine in Sweden’s Bergslagen region, Granström took his guitar as a starting point for his compositional work that heavily relies on real-time sound synthesis. »I seldomly use the instrument as a sound source in the final compositions and rather transcribe and orchestrate the harmonic structures using sound synthesis,« he explains. »On this album however, I chose to include the actual recordings of the guitar in order to extend the spectra between non-referential synthetic sounds and embodied referential sounds.« Working with precise tunings in order to blend the timbre of the synthesis with the harmonic structures of the composition, he created composite sound objects in which the harmonic elements blend into each other. 

Through the re-amplification of synthetic musical materials from the inside of the abandoned mine, his original compositions were enriched with site-specific sound qualities before he further refined them in a singular working process. Granström works with algorithmic and generative processes, using the SuperCollider programming environment and thus blurring the lines between generative and creative forms of composition. »One of the things that I like about this way of working is that it creates a distance between myself as a composer and myself as a listener of the music that is produced entirely by the system,« he says. Granström’s technologically aided eschewing of the conventions of composing doesn’t make the end result any less personal, however. By listening again and again to the newly generated output, Granström simply took on a different role in the process of finalising the music, with the technology and the sounds becoming his co-authors. 

By creating systems that generate music, he gains a new perspective on (musical) time, says Granström. »There doesn't have to be a fixed length to the music at all,« he explains. »And by writing music with this in mind, my focus tends to shift towards writing cyclical structures that gradually change and transform over time.« Simple parts, in other words, that emerge as the five complex wholes that form »Empty Room,« a record that itself seems to take on different forms with every new listen.

DAVID GRANSTRÖM - Occultations (HG2102)

There’s a body of water in the woods near Carrboro. Dappled light on the trail leads you to it. Crunch of leaves underfoot. A river feeds the swimming hole where people plunge, naked and alive. On a chair you sit reminiscing about the future. After a dip, you lay on a big smooth rock - let the sun bake you dry. Then you walk further into the woods.

Like coming upon some keyboardists situated at the mouth of a cave, the entreaties on this record are calming but enigmatic, tinged with melancholy and reflection. Recurring motifs are given room to grow—there’s much space, and the progressions percolate, an auditory mapping of emotional crevices. Sentimentalism given a rougher edge. It lures you in; an orb appears, bright and buzzing. It motions for you to continue. As you do, a fragrance floats through the cave and fills your psyche, like a thousand roses hidden in the dark.

On "Keyboard Suite Vol. 1", MARV imbues analog subtractive and FM synthesis with a distinct physicality. Dub studio techniques and rigorously hand-played performances create an 'environmental' keyboard masterpiece strongly connected to the lineage of 1970s-80s private press ambient and electronic recordings-- but elegantly modern sound design and production methods center the album in the present day. A timeless quality pervades "Keyboard Suite Vol. 1", allowing for easy repeats, marinating the subconscious ache of loss with a dreamily resolute hope.

keyboards and effects ~ Geoff Schilling and Nathan Taylor
french horn (A2) ~ Aaron Smithers
mixdown assistance ~ Glyn Maier
audio finalization ~ Nathan Taylor
design and layout ~ Joe Bastardo (www.josephbastardo.com)

all proceeds to Carolina Abortion Fund (Durham, NC) ~ www.carolinaabortionfund.org

ALSO WILL BE STOCKED BY:

Tobira Records (JP)
All Day Records (US)
Commend (US)
Boomkat (UK)
Industrial Coast (UK)

LP details ~
black vinyl, printed center labels
lacquer cut ~ Amy Dragon
recycled black paper jackets ~ Middle Press
silkscreened with water/soy-based ink ~ Goatmother Industrial
recycled plantable seed paper insert ~ Greenfield Paper, debossed with Braille text* ~ Middle Press
custom scent ~ Meadow Maker Apothecary (www.instagram.com/_meadowmakers_/)

*may not be readable due to paper thickness and texture

*ALL LPS WILL BE SHIPPED OUTSIDE OF JACKET FOR SAFETY*

Keyboard Suite I

MARV - Stable Mate (ENM10)

A0000

NOÉMI BÜCHI @noemibuchi
HYLE - OUS039
April 15, 2022; digital

«I create my compositions from a symphonic-orchestral viewpoint, where the sounds are my orchestra, and I arrange them in time and space.» - Noémi Büchi

Noémi Büchi’s first EP for -OUS, ‘Hyle’ is a reference to the ancient greek term for ‘matter’ - which is composed of fire, water, air and earth - and only comes into existence when ‘form’ is attached to it. Balancing between the elements of electroacoustic music, neo-classical composition and sound design, ‘Hyle’ unfolds in three compositions that translate ‘matter’ into music. «We all are matter, and music is matter. My compositions convert personal and collective memories between trauma and joy into music that is rooted in the emotional dimension, but also intends to spark intellectual euphoria», she explains.

Consciously returning to the appreciation of harmony,
Noémi Büchi unfolds its musical potential through chordal combinations and reduced musical intervals. Her pieces are written with a classical understanding of compositional forms, structures and textures, which she translates to experimental electronic music. Just as life can be segmented into layers of knowledge and experience, Noémi Büchi composes in layers: she explores the potential of harmonies and dissonance, contrasts rhythmic figures with disruptive moments and playfully emphasizes irregularities, in order to expand our listening habits and create dense moments and harmonic grandeur alike. ‘Hyle’ is a prelude to her debut album ‘Matter’, which will be released on -OUS in 2022.

Composer and sound artist Noémi Büchi explores electronic and symphonic maximalism. Her music is defined by a delicate blend of electronic-orchestral condensations and textural rhythms. She strives for a combination of harmonic and dissonant sonorities, to evoke both intellectual and emotional euphoria. Her 2019 debut EP ‘Matière’, released through Light of Other Days, attracted widespread attention within the experimental music scene. In 2020, she released a second EP Prismic Passages on the Leipzig-based tape label Visible Dinner. -OUS will be releasing her debut album ‘Matter’ and its prelude ‘Hyle’ in 2022, as well as the debut album of Musique Infinie, a collaboration between Noémi Büchi and Feldermelder. 

CREDITS
Music by Noémi Büchi
Mixed and mastered by Manuel Oberholzer at vfbm Fribourg
Cover photograph by Jean-Marc Avila

Buy on Bandcamp

Noémi Büchi - Hyle  - 2 -  Manifesting Plastic Sorrow

Object number: 97/254/1 

Alexandra Spence’s work explores earth’s material relationship with space via satellite disposal and debris, and the uncanny historic connections between electronic music and space exploration. Travelling through orbits, life cycles and transmissions, Stellar Nullius reconsiders the earth’s atmosphere, not as a liminal zone, but as a provisioning body whose wellbeing is deeply intertwined with our own. 

Alexandra Spence is a sound artist/musician based in Eora (Sydney). Through her practice Alexandra reimagines the intricate relationships between the listener, the object, and the surrounding environment as a kind of communion or conversation. She has presented her work worldwide and released music with Room40, Longform Editions, MoreMars (with MP Hopkins), Canti Magnetici, and Mappa. Find Alexandra on Instagram @alxandraspence and follow her work on Linktr.ee https://linktr.ee/alexandraspence.

With thanks to the interview subjects: Dr Annie Handmer, Professor Iver Cairns, Alan F Jones, Dr Sarah Reeves, Martin Gotfrit. Work title borrowed from Elizabeth Povinelli. 

Oscillations is presented by Jon Tjhia and sound design is by Erin Hyde (Sig Nu Gris).

ALEXANDRA SPENCE — STELLAR NULLIUS

hurt

Silvia Kastel - The Gap
from "Silvia Kastel - The Gap" (nkt007) 
out on noisekoelln.bandcamp.com
Edition of 50 Tapes

Photo by Ben De Biel

Silvia Kastel - THE GAP

A reworked version of one of the tracks used in the soundtrack to Surface Area Dance Theatre's production, 'Auricular'.

Auricular was performed in April 2017 at CCA, Glasgow (16 April), Gymnasium Gallery, Berwick-upon-Tweed (22 April)and at Turner Contemporary, Margate (29 April),

http://www.surfacearea.org.uk/auricular/

GB 2 Re/r/ed

Take from the album 'Music Promenade/Unheimlich Schön' released as LP and Download

Luc Ferrari' Music Promenade' (excerpt) (REGRM 022

Taken from the album 'Two' released as LP and Download

Oto Hiax 'Strain' (EMEGO 255)

Taken from the album 'FRACTALS/Brain Fever' released as LP and Digital.

Bernard Fort 'Fractals 1' (REGRM 024)

1967, version 1988
Taken from the album 'Violostries' released as LP and Digital.

Violostries

Bernard Parmegiani 'Capture éphémère' (REGRM 023)

Enshrouded in high-pitched static and elusive fumelike oscillators come "Sundowning", a new mini-album signed by Preston Weippert's most prolific alias, aka Volunteer Coroner. Co-founder of the Colorado-based Trust Collective label, Weippert's music vectors a collection of desolate murals often painted with industrial-grade fuel. A low-resolution picture of oil fields burning from your window seat. Closed eyelids against the sun, into the red.

“Loss as gain- forever in blood”

EN17

Recorded during the Summer of 2020
Volunteer Coroner is P.W.

Sundowning

Volunteer Coroner - A Token Saved From A Previous Life

Independent record company based in Vienna.
For Spectrum Spools go here: https://soundcloud.com/spectrumspools

Bernard Fort 'Fractals 1' (REGRM 024)

Editions Mego

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