powerful emotion inherent in your sonic carvings

From the album Andrew Pekler & Giuseppe Ielasi "Palimpsests" out on Shelter Press om October 22, 2021. Preorder: https://shelterpress.bandcamp.com/album/palimpsests

Bandcamp

Andrew Pekler & Giuseppe Ielasi - Simferopol

Pre-order: https://other-joe.bandcamp.com/album/blessings-from-th-eheart

Website: https://www.lowendtheorists.com/new-music-premieres/other-joe-man-of-the-world

Naarm’s Joseph Buchan resembles a kind of collage artist. His latest album blessings from th eheart—released under his Other Joe moniker—is sourced from voice memos, Logic projects, iPhone videos and other random pieces of sound archived since the release of his excellent debut album Alien Haze. “Looking over it all at once, the musical ideas I had been attracted to over the past eight or nine months started to make a bit more sense,” he said. “I could see that there were instruments I was liking, or chord progressions that I kept coming back to, structures and forms that I had found engrossing. Sort of like putting together a jigsaw puzzle that I had made without realising.” Out of this pointillistic approach, Buchan turns field recordings, dronescapes and harmonic progressions into some of the most sentimental and beautiful music he’s ever made.

Nowhere is that more clear than on ‘Man of the World’. The track contains the producer's signature fog of electronic textures intertwined with field recordings and a simple but gorgeous melody played by Nico Callaghan on piano. Just like his counterpart’s own music, specifically their Haji K. alias, Buchan knows how to carefully weave layers of sound into something delicate, weightless and visceral. The overall result—sonically anyway—is an ambient track where every small detail adds a degree of intimacy to the cavernous soundscapes Buchan builds around them.

PREMIERE: Other Joe - Man Of The World

❊ Composed by Jihem Rita and mixed by Manuel Duval 
Vocals, acoustic and electronic percussion, rhythm box, organ, trumpet, harmonica and salad spinner played and recorded by Johann Mazé in Tabanac and Saint-Martory
❊ Violin on 'Hayton Fayon' played and recorded by Sourdure in Thiers
❊ Mixed with Manuel Duval at the Grange Cavale
❊ Mastering by Ernest Bergez (Sourdure)
❊ Artwork by Josué Confort ©

CD02_SPLIT

A1 - Jihem Rita - Hayton Fayon (avec Sourdure Au Violon)

Extract from 'Image Langage' (SP140)
Out June, 24th 2022 on 2xLPs, CD, digital download.

Order: https://feliciaatkinson.bandcamp.com/album/image-langage

—
Opening the window, I look at the light, it connects me to something more vast.

Felicia Atkinson’s music always puts the listener somewhere in particular. There are two categories of place that are important to Image Language: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record—Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy—the landscape is what is waiting for you when you leave the house, and vice-versa. Each threatens—or is it offers, kindly, even promises?—to dissolve the other. Recognizing the normalization of home studios these days, she revisited twentieth-century women artists who variously chose, and were chosen by, their homes as a place to work: the desert retreats of Agnes Martin and Georgia O’Keefe, the life and death of Sylvia Plath. Building a record is like building a house: a structure in which one can encounter oneself, each room a song with its own function in the project of everyday life.

At times listening to Image Language is immediate, something like visiting a house by the sea, sharing the same ground, being invited to witness Atkinson’s acts of seeing, hearing, and reading in a sonic double of the places they occurred. In an aching moment of clarity in “The Lake is Speaking,” a pair of voices emerge out of the primordial murk of piano and organ, accompanying the listener to the edge of a reflective pool that makes a mirror of the cosmos. “I open my feet to fresh dirt, and the wet grass. I hold your hand. You hold his hand. In the distance without any distance. The comets, the stars.” At other times, listening to Image Language is more like being in a theater, the composition a tangle of flickering forms and media that illuminate as best they can the darkness from which we experience it. On “Pieces of Sylvia,” a noirish orchestra drones and clatters beneath and around a montage of vocal images, stretching the listener across time, space, subjectivities. Atkinson says that Image Language is like the fake title of a fake Godard film. There is indeed something cinematic about Atkinson’s work—not cinematic in the sense that it sounds like the score for someone else’s film, but cinematic in the sense that it produces its own images and language and narratives, a kind of deliberate, dimensional world-building in sound.

Image Language is built from instruments recorded as if field recordings, sound-images of instruments conjured from a keyboard, instruments Atkinson treats like characters, what she calls “a fantasy of an orchestra that doesn’t exist.” And then, speaking of Godard, there are the monologues, operating as both experimental-cinematic device and a literary style of narration. Voice can be a writerly anchor or a wisp of a textural presence. Atkinson’s capacious and slippery speech plunges into and out of the compositional depths, shifting shapes, channeling the voices of any number of beings, subjectivities, or elements of her surroundings—not unlike her midi keyboard, able to speak as a vast array of instruments.

Image Language is an environmental record, in the vastest sense of the world. It is about getting lost in places imagined and real; it registers, too, the dizzying feeling of moving between such sites. It puts forth a concept of self that is hopelessly entangled with the rest of the world, born of both the ache of distance and the warmth of proximity.

— Thea Ballard, 02.2022

Image Language

Becoming a stone

FELICIA ATKINSON 'Becoming a Stone' (SP140)

https://radiosygma.bandcamp.com/album/3

being inherently independent, experimental music is bound to deny typical vertical principles of power and censorship that we face today even more than ever, yet it can contain a statement of the opposite nature. as we prepared this compilation the russian invasion of ukraine escalated further, leaving us with less words than ever, but a stronger urge to retain a voice. we believe that music communities are able to offer their own responses to societal changes, no matter how quiet or deafening they may sound. 

Σ3 compilation features 16 tracks by our contributors, friends, and members of the team and we really hope you enjoy them for what they are. but the important thing is that beyond a sensitivity to unconventional sound and commitment to international music communities, all featured artists are defined by a belief in human dignity and solidarity with the victims of war. 

all the proceeds from sales will be split between the evacuation initiative helpingtoleave.org and help-freefilmers.network providing humanitarian aid and power generators for at-risk ukrainians
credits
released November 4, 2022 

mastered by sergei shplv 
artwork by Svyatykh (linktr.ee/svyatykh)

Arad Acid – Samecut

Artist: Groupshow
Title: Greatest Hits
Cat#: faitiche 29
Release: Jan 27th 2023 (digital single: Nov 25th 2022)
Format: LP/DL

Faitiche presents Groupshow’s Greatest Hits: The ten tracks on this first vinyl album by Groupshow (Hanno Leichtmann, Andrew Pekler, Jan Jelinek), recorded between 2005 and 2018, document concert recordings and studio improvisations by the trio.
-
In improvisation there are no mistakes, only missed opportunities. Groupshow found their first opportunity in the routines of live performance and they used this opportunity to break with these routines. The trio consisting of Jan Jelinek, Hanno Leichtmann and Andrew Pekler came together in the context of Kosmischer Pitch, playing live versions of the music from Jelinek’s 2005 studio album of that name. During this project, the musical interaction between the three participants quickly emancipated itself from the original programme, departing from fixed roles and finding a distinct form in constant change.
Groupshow sessions – rehearsal, concert or recording – are always improvised. The interplay of the various sound sources, converging from the directions of “electronics”, “percussion” and “guitar”, does not follow the Krautrock wave logic of crescendo and morendo. Jelinek, Leichtmann and Pekler have established a method of transparent density in which links and breaks are not concealed but remain audible. The music works through attraction and repulsion, with a loosely organized structure that always leaves enough room for the next intervention.
The principle here, repeated even in the smallest units, is that of duration. Groupshow think of their music in terms of an installation: no starting point, no dramaturgy, and ideally no end. Concerts take place not raised up on a podium, but in the middle of the room on a level with the audience, who only enter the space with the musicians and instruments once their interaction is already underway. In 2008, Groupshow used this approach to create a live soundtrack for Andy Warhol’s film Empire, over the full length of eight hours and five minutes.
Recordings in general and the “Greatest Hits” format in particular are another key aspect of this ongoing work on a collectively modulated continuum. The ten tracks on this first vinyl album by Groupshow, recorded between 2005 and 2018, document the ephemeral capturing of opportunities that were not missed. Extracts and essences of an endless movement of searching. The sprawling form of the whole, suspended in succinct, separate units.
To paraphrase Lao Tzu and Roland Barthes, one might say: Once their work is done, they are no longer attached to it. And because they’re not attached to it, it will remain. (Arno Raffeiner, 2022)

Groupshow: Music For A Plank Press

Editions Mego presents The Psychologist, the sophomore album by the Istanbul born and raised, Berlin based electronic music composer and sound artist Hüma Utku.

As the title suggests, The Psychologist, is a series of sonic essays based around themes of psychological phenomena and can be read as a musical enquiry into the human condition. With Utku’s background as a graduate of Psychology and her current practice as a conceptual music composer we see the two main threads in her professional career intertwine on this unique and ambitious release.

Including recordings of Buchla 200 from Utku’s Elektronmusikstudion residency in October 2020,The Psychologist is a genre aversive work that embodies elements of synthesiser music, electroacoustic, experimental techno, industrial, modern composition and spoken word. Piano, string compositions and vocals hold weight throughout a number of pieces providing a dramatic acoustic edge to the psychological explorations contained within.

The foreboding mood of much of this release is the product of investigation that lends the unsettling theme of anticipatory grief to the mood of the tracks Light of All Lights and Continuing Bonds. Islands of Consciousness refers to Jungian metaphor for consciousness whilst the unnerving Rüya twists around dream analysis in Gestalt psychology. Fuel For The Flames proceeds as a buzzing and swirling representation of alchemy and psychological symbolism. Dissolution of I is haunted by a strange sensation of dissociation whilst defense mechanisms support the sublime Sublimation. The bright shapes of Chironian Wound represent archetypes and analytical psychology whilst the fried soundscapes and rhythms of Ataxia encapture neurological states.

The results unravel with both the clockwork rhythms of the human body and the unpredictable nature of the psyche, the pieces follow arrhythmic patterns in a harmonious way. It tells the raw and intimate story of the human experience with a new work whereby the predictable operates in parallel with the unexpected and like human experience itself, is dark and complex.

Composed, Written & Produced by Hüma Utku  
Piano by Hüma Utku  
Vocals by Hüma Utku  
Double Bass performed by Adam Pultz Melbye  
Cello performed by Florina Speth (aka Schloss Mirabell)  
Violin performed by Marta Forsberg  
Cover photography & art by Gözde Güngör  
Design by Eloise Leigh

The Psychologist

Dissolution of I

Hüma Utku 'Dissolution Of I' (EMEGO 302)

𝐁𝐒𝐋𝐏𝟎𝟎𝟓 - 𝐉𝐨𝐧𝐪𝐮𝐞𝐫𝐚 - 𝐋𝐚 𝐂𝐫𝐨𝐢𝐱 𝐝𝐞𝐬 𝐂𝐫𝐨𝐬 - 𝐎𝐔𝐓 𝐅𝐄𝐁. 𝟏𝟑

Order vinyl / Download: https://bambooshows.bandcamp.com/album/la-croix-des-cros

Two years after the 𝐃𝐀𝐑𝐊𝐎𝐒 𝐋𝐏, Jonquera is back to Charlieu’s surrounding vales for his second album on 𝔹𝔸𝕄𝔹𝕆𝕆 𝕊ℍ𝕆𝕎𝕊. 

Through 𝐋𝐚 𝐂𝐫𝐨𝐢𝐱 𝐝𝐞𝐬 𝐂𝐫𝐨𝐬, the French Musician delivers a loner-folk eclogue about the fantasized inner demons of a country dweller. Just like clay, audio recordings here are a malleable substance, slowly reworked over a year, following a sinuous production process where all mishaps are welcomed as breaches to step into. 
Far from the spaghetti western myth of the reckless bounty hunter, riding his faithful horse in the great outdoors to spill blood; this 14-track album is the grieving lament of a wistful cowboy, longing for a simple patch of peace where one’s free to cultivate the earth and noodle on the guitar.

Heldon’s cosmic space-rock, Badalamenti’s Twin-Peaksesque foggy jazz or Morricone’s glorious soundtracks, so many references to portray another fertile imprint by Jonquera, available from February 13, 2023 on a 12” vinyl. To get along with a limited-edition woven scarf.

Release Infos:
Catalog Number: BSLP005
Date of release: Monday, February 13, 2023.
Genres: Folk, experimental, leftfield, electronic, drone, space rock 
Limited-edition of 1x 12” vinyl, including handmade-paper insert and download card.
Public price: 20€ + shipping.
Also available in package with a limited-edition high-quality woven scarf (37€ + shipping).

Credits:
Produced, mixed and mastered by Guillaume Lespinasse.
Statuettes by Federica de Ruvo.
Graphic design by Etienne Delorme-Duc.
Artistic direction by Loïs Markarian.
In memory of Michel Lespinasse and Charles Markarian.

OUT FEB. 13 - ORDER VINYL OR DIGITALS NOW : 
https://bambooshows.bandcamp.com/album/la-croix-des-cros

La Croix des Cros

Order vinyl / Download

BSLP005 - Jonquera - La Croix des Cros (PREVIEWS) - OUT NOW

KASSEL JAEGER 'Shift In Dreams' (SP144)

From the album 'Shift In Dreams', out on Feb. 24, 2023 on Shelter Press
Order: https://kasseljaeger.bandcamp.com/album/shifted-in-dreams

Music composed and performed by François J. Bonnet
Artwork by Eléonore Huisse
Mastering by Giuseppe Ielasi

Shifted In Dreams

KASSEL JAEGER 'Shifted In Dreams' (SP144)

Muito tempo atrás seres de outro planeta eram atraídos para o pantano, sentiam como se fosse um chamado de socorro vindo da mata, esses seres até então viviam como nômades, sem um lar específico, até que em um certo dia após sentirem uma conexão universal, perceberam seus corpos se misturando com a matéria que estava presente nesse pântano, tendo uma simbiose de materia nascendo assim uma nova raça chamada "Gooper", raça que desse dia em diante seria responsável por proteger e cuidar de toda vida presente nesse pântano, em seus variados tipos, árvores, fungos, animais, surgindo assim uma nova era de conexão universal, a era YantraX.

Master by Krono Audio

YantraX - The Forest Of Gooper (150 Bpm)

"a distinct new shade of modern, adult, atmospheric emotion and feminine pressure"

Answering a need for sincerity and intimacy in overwhelming times, Berlin's @perila makes her striking solo debut with a blush-worthy suite of sonic erotica, ASMR and sensuous ambient environments...

Tracklist:

A1. Natʼs Poems (with Nat Marcus) 
A2. Mouth Full Of Tahini

B1. Sweat (with Inger Wold Lund) 
B2. XY Object Of Desire 
B3. Message From Another Table

Digital Bonus: Wet

Edition of 300 copies.
Mastered by Lawrence English at Negative Space, cut at D&M Berlin.
Release Date: 18/07/2019

Perila - Irer Dent (sferic004) [Preview]

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

Hüma Utku 'Dissolution Of I' (EMEGO 302)

Editions Mego

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