Name: Liquid Routine by Eloin
Duration: 2 min 58 s
Description: The composition combines acoustic piano with field recordings and the small modular system from pittsburgh modular (taiga). Patterns emerge and dissolve, shaped by both nature and machine.

"'Nova Llum' unfolds and morphs through 9 tracks of contemporary Ambient bliss... Shimmering fractals of ASMR, combined with Illbient laced electronics & drums - all combine for the perfect modern Balearic flotation tank"

Original Cassette released via @goodmorningtapes

Bandcamp

Centro Gris (from 'Nova Llum' LP)

Made with a Roland S-1 into a Chase Bliss Lossy, mixed into a Sonicware Liven Ambient0.

Sunday Jam 20241226

Announcement 🕯️
Richard Hronský — Pohreb

Out September 02, 2025— digital / vinyl
Pre-order via Bandcamp: https://mappa.bandcamp.com/album/pohreb

When the poplar trees whisper, the dead are talking. Or maybe it’s God, or memories of people no longer with us. Soundscapes and sonic notes are central to Richard Hronský’s third (bedroom) studio album, Pohreb (The Funeral) – following up thematically on his second release Closures. Squeaking of wooden floors, dim afternoon sunlight coming through the window with bird songs and static in the grandfather’s radio playing in the garage – the record entails the melancholy of growing up and saying goodbye to our loved ones and the world we shared with them. Deeply personal memories and audio sketches tell the oldest story of the life cycle and its inevitable end, but also continuation with generations that come after us.

Richard Hronský – fujara, voice, harmonica, field recordings, processed samples
Oliver Hronský – organ (on track 7)
https://soundcloud.com/adelamede – voice (on track 8)
Krištof Krupa – double bass (on track 8)
Viliam Solovic – cello & fujara (on track 11)
https://soundcloud.com/a_b_d_a_b_d – field recording (on track 13)

Recorded, produced and mixed by Richard Hronský

Album was created in Slovakia, Estonia and Greece, from November 2023 to March 2025.
Most of the tracks were recorded and produced in Bratislava, Slovakia and finished in Athens, Greece.
Field recordings are from the 2018-2025 artists backpack.

Organ & voice on track 12 performed & recorded by Štefan Bobek
Original sample on track 13 recorded by Karel Plicka

Mastered by Adam Badí Donoval
Artwork “Early winter”, 2023 by Karola Ainsar
Design and liner notes by Richard Hronský
Words by Nora Třísková

Thanks to Karola Ainsar, Katarína Aroche, Jakub Juhás, Michaela Cagáňová, Zoltán Czakó, Adela Mede, Adam Badí Donoval, Dominik Gajdoš, Anton Mozola, Ema Mihálová, Agáta Kertész, Štefan Szabó, Krištof Krupa, Nora Třísková, Elena Hronská, Samuel Oravec and Christopher Michael Pauliny.

Dedicated to Mária and Marián Gajdoš, Štefan and Emília Bobek, and generally all (grand) parents.

Released by mappa as MAP061 in 2025

Supported using public funding by Slovak Arts Council

Pohreb

Päritolu ("Pohreb", Out September 02, 2025)

Chronicles of Loss, the new EP by Magda Drozd, released on Rivercore, emerges from her 12-channel audiovisual installation shown at Museo Montagna in Torino, Italy, in 2023 and 2024.

For this release, Drozd has distilled and restructured the original composition of the sound installation into three parts—transforming the spatial and immersive work into intimate stereo pieces. The field recording sounds woven through the pieces were captured along the French–Italian border, across the mountain range stretching from Cuneo in Piemonte to the Ligurian Sea. Gathered during several hikes in 2023 as part of the exhibition project Stay with Me, curated by Andrea Lerda, these sonic fragments hold the presence of place—wind, stone, water, and human steps. Found bird recordings from the same region, manipulated through granular synthesis, intertwine with these field recordings, expanding the texture of the landscape. A third layer introduces melodic threads—voices, strings, and synthesizers—that converse with the mountains, rivers, and other living beings, echoing the porous boundary between the human and the more-than-human world.

Chronicles of Loss unfolds as an abstract and emotional assemblage—a suspended territory where uncertainty and fear mingle with strength and solace. The music stirs traces of collective and personal memory, reawakening emotions embedded in our most archaic consciousness. The title functions as a speculative form of storytelling: a listening experience as if to the remnants or documents of what has already vanished. 


Composed, performed, recorded, and produced by Magda Drozd

Published by Rivercore on the 14th November 2025
RC002

Obsucrity

The composition combines acoustic piano with field recordings and the small modular system from pittsburgh modular (taiga). Patterns emerge and dissolve, shaped by both nature and machine.

Liquid Routine

Lean back, jack up the volume and listen to the end.

COTTON CANDY

Melania My Dreams

It's not

Artist: ASUNA & Jan Jelinek
Album: Signals Bulletin
Label#: Faitiche18
 
Faitiche is delighted to announce the release of a new collaboration between the Japanese sound artist ASUNA and Jan Jelinek: the album Signals Bulletin brings together joint improvisations and compositions made over a period of three years in Berlin, Kyoto and Kanazawa. ASUNA’s meandering organ drones merge with Jelinek’s pulsating synthesizer and field recording loops to create dense superclusters that span broad harmonic arcs.

-

Watching the Japanese sound artist ASUNA playing the organ, some people might be surprised. ASUNA is no virtuoso flying over the keyboard in a rage. Instead, with the calm gestures of an office worker, he cuts strips of adhesive tape to the correct length before sticking them onto the keys of his instrument. In this way, large clusters of keys are held down, creating a dense and sustained range of frequencies, while the sound artist continually prepares further sets of keys or removes tape again. I have rarely seen a more convincing performance concept, with such a power to fascinate.

I first met ASUNA when we both gave a concert at the 21st Century Museum of Contemporary Art in Kanazawa, his home city. He performed the organ drones as described above and I immediately knew I wanted to collaborate with him. Six years and five meetings later, we completed Signals Bulletin. The album includes both joint improvisations and compositions, recorded in Berlin, Kanazawa and Kyoto.

Whether using prepared organ, Casio keyboards or mechanical plastic toys, ASUNA creates rich textures of sound that barely change over long stretches of time. It is a music without breaks. For a while, I was unsure how my loops made using modular synthesizers and live sampling fitted here – until I realized the role I had to take in this duet: I would provide the rhythmically pulsating foundation over which his dense continuums could unfold.

The result is harmonically drifting superclusters that put us into a meditation-like state. It can perhaps be compared to Automatic Writing – a mode of creative expression floating somewhere between concentration and distraction. Both the structure of our pieces and our approach to our instruments allow a similar “absence”: we let the machines play and repeat themselves – while we, in a mild form of trance, adopt the role of observers, intervening only occasionally.

It is no coincidence that ASUNA owns a collection of Doodle Art – drawings jotted down during conversations or while talking on the phone. It is said that works made like this point to the unconscious and reveal pet motifs – because a doodler always inadvertently returns to his or her favourite themes. The artwork for Signals Bulletin features pictures from the collection, in this case sheets of paper from the pads provided in stationery shops to test out pens. The special quality of such doodles is that the jumble of drawings is the work of a collective whose individual members do not know each other. Layer by layer is added, by someone different each time – until it becomes a dense cluster of lines and symbols ...
Jan Jelinek, Berlin 2018

ASUNA & Jan Jelinek: Relief, Pt.1

FUJI||||||||||TA, iki, LP

Release date - April 3th 2020
Catalogue nr. - HG2003
Format - Ltd. Vinyl/digital

https://hallowground.bandcamp.com

Credits:
All music composed, played and Recorded by FUJI|||||||||||TA
Mixed by Makoto Oshiro
Mastering by Lawrence English at Negative Space

Tracklist:
1) keshiki (09:42)
2) nNami (09:20)
3) osoi (10:12)
4) sukima (07:03)

///
"FUJI|||||||||||TA has created a work that operates as a beautiful nexus between the material and immaterial qualities of music. 
It is a lived-in dreamscape of deep, rich tonality. A remarkable debut."
(Lawrence English)

///
FUJI||||||||||TA, real name FUJITA Yosuke, is a Japanese sound artist. After countless performances in different contexts either solo or along artists such as Yamantaka Eye of Boredoms and the legendary avant-gardist SUZUKI Akio as well as a slew of solo releases, his LP »iki« (»breath«) for the Swiss-based Hallow Ground label is his first in nine years. On these four pieces, Fujita explores the idiosyncratic sound qualities of the pipe organ he has built all by himself in 2009. This - quite literally unique - instrument features only eleven pipes, an air pump called »fuigo« which was modelled after a traditional blacksmith’s one and has no keyboard. Inspired by traditional gagaku, it was designed to evoke rich landscapes rather function as just another musical instrument. While his previous records saw FUJI||||||||||TA explore various modes of abstraction, »iki« is a highly emotive yet meditative album, musically restrained but full of imagination.

»keshiki« immediately sets the mood for this record with a long sustained note that is punctuated by the soft clicking of Fujita’s air pump. Once Fujita carefully starts bringing melodies into play, the interplay of the drone and the discrete rhythmic element gives way to a fuller harmonic whole. »keshiki« is an intimate piece that perfectly displays the artist’s knack for painting a rich sonic picture with only a reduced palette. »nNami« juxtaposes the sounds of two pipes that are out of tune with each other, creating a hypnotic sensation of ebb and flow (»nami« translates to »wave«) that is full of subtle friction. It’s a staggering artistic interpretation of the instrument’s material characteristics. Clocking in at ten minutes, »osoi« (»slow«) is an overall melancholic piece that explores the relationship between different tone colours through minute changes in pace. Finally, »sukima« (»blank space«) is the shortest and the most rhythmic piece of the four. Composed of only staccati, it is a masterful exploration of the harmonic qualities Fujita’s stunning pipe organ has to offer.

Recorded between September and December of 2019, »iki« marks the culmination of FUJI||||||||||TA’s ten-year-long work with the instrument that he had built without any prior knowledge and started to teach himself to play without a manual in sight. It is, in other words, the unique result of a unique musical mind paying his dues to the uniqueness of his own creation; introspective and welcoming at once.

FUJI||||||||||TA - osoi (HG2003)

I am a Musician and Sound Designer focused on the creation and exploration of soundscapes. I'm based in Zurich, Switzerland.
info@eloin.ch

Liquid Routine

Eloin

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