Composed during a whirlwind period of touring and sound engineering in 2019, 𝑂𝑛𝑙𝑦 functions as both a tranquil refuge and as a heartfelt appreciation for the source instruments' timbres. Berlin-based Bridget Ferrill crystallizes her professional recording experience and artist residencies into a singular focus on Buchla modular, harp, zither, and viola da gamba. Rather than an exercise in technical mastery, Ferrill's careful arrangements invite us to linger with each instrument; in her words, fulfilling the longing to "listen a little longer, a little slower". Every contour of the instruments is lovingly traced, a warm invite for us to join her in the exuberance of exploring their inner life.

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Bridget Ferrill (USA/DE) is a producer and composer of electronic music whose work plays between pattern and noise, exploring augmented instruments, handmade electronics, and experimental computer music. She has participated in residencies at EMS in Stockholm, LungA in Iceland, and the Dirt Palace in Providence, Rhode Island. Recent projects include composing for Staatstheater Cottbus, engineering and performing electronics for Bendik Giske’s live show, designing the Anglerfish drone synthesizer for Common Ground, and creating multimedia installations with composer Áslaug Magnúsdóttir.

Ferrill is also a live and studio engineer with experience working in studios and venues such as Greenhouse Studios in Reykjavik, Machines with Magnets in Providence RI, and at Real Surreal, her own mixing and mastering studio in Berlin.

Only

Bridget Ferrill - Viola da Gamba (ENXPL10)

https://linktr.ee/kurven
https://soundcloud.com/kurvenschreiber
https://www.juno.co.uk/products/kurvenschreiber-licht-ausgang/934945-01/

Sergey Komarov, Vlad Dobrovolski, Ilya Sadovsky, and Alexey Grachev, an improvisational quartet known as kurvenschreiber, fuel their vintage synthesizers with homemade solar batteries and record their sessions on reel-to-reel tapes before they can turn to dust.

In their performances, they utilize generators, radios, meteorological equipment, and pre-recorded tape loops. This niche approach allows them to create an illusion of cinematic force in sound, where the sound itself becomes the main character. The power of their sonic interpretation stems from the virtuosity of juggling resonant images, offering the audience a chance to immerse in a unique audio-visual space.

The most compelling aspect of "Licht Ausgang" is not the quartet's technological tricks or references to their deep archive of tapes, but rather its restrained emotional undertone. The precise mood is as elusive as the autumn smell of leaves, yet it is simultaneously euphoric, whimsical, and grotesquely sweet.

Nonetheless, the album can hardly be labeled as mere pastoral nostalgia, as there's a mystic current present in these tracks, constantly leading kurvenschreiber down strange and unexpected paths.

https://linktr.ee/kurven
https://soundcloud.com/kurvenschreiber

licht ausgang

Kurvenschreiber - Licht Ausgang [udacha017] LP12"

was released on (VA)Berlin-based Isabelline recods 2023
Limited to 120 copies 12"

Deviate

Released 14. Oct 2023

The vinyl contains tracks 1-6 of the digital release. The digital release contains one bonus track (7).

Calligraphy art by Brett Tassenon
Cover artwork design by Angel Draganov

"Thanks to Ivo Petrov and the Mahorka crew"

[mhrk370]

Dawlat Lībiyyā

Dawlat Libiyya

Umm al-Maa      by Abu Ama + BedouinDrone - Dawlat Lībiyyā LP [mhrk370]

Release as part of "Radiance" a collection between Edwin Europe and Jonathan Castro.

edwin-europe.com/blog/post/radiance-by-jonathan-castro-autumn-winter-2023

Jump the rusted stiles when no one is looking. From here, the way is downward. Past the dried-up canal, past the metal sheds, down further through the empty overpass with its coarse concrete walls. At the bottom, there’s a small pond of standing water—a reservoir, a dull mirror for the sun, casting the green in a radiant glow.

Look closely for a while. Train your eyes on the glare of the surface. Perhaps you will begin to see the opposite of your descent. The water becomes its own underside. Spindly white lines shoot upwards, pushing past the minerals, the heavy metals and the plastic remains. These are the roots of the ruderal species, the hardiest, the weeds and invasives. Like craftsmen, they take whatever they can use.

The city eats itself, again and again. There will always be another boundary to jump. Along other canals, down the slopes of railway embankments, between demolition sites, the radiance of a thousand other empty zones already shines

- Jan Egbers

Mumbled echoes from the mist,
through the tunnels of revival.
The graininess interplay with a subdued mellifluence.

A haze of longing sighs and reverberations
threshold between the lane,
where distant voices yield to.

Each touch is a ballad in nocturnal parade, rays in slumber, yet the moonbeam in breast is still awake - whispered pledge enchained with insatiable thirst. Ecstatic symphony, where caress seems to echo in the passage of elysian heath.

'To Be Kept in the Body Eternal' enchants with pulse in elegance dance of eternal, bittersweet passion. Everlasting sonata venturing into woven figures of tender phantoms.

To Be Kept in the Body Eternal

Patina Lush - French Kiss through a Window

Patina Lush - Strange Yolk

Somewhere between the ears and the eyes is a bridge of imaginary light. Somewhere in a dark room a bright cone of photons connects a slide projector to a wall. Dust motes drift like plankton in the glow. One thought overtakes another as the carousel clicks forward, shuffles; a new piece of celluloid drops into the projection slot, a new image illuminates the wall — visions of a recent past, filtered through what Mark Templeton calls the 'pink hue of mystery...' The ten compositions on Templeton's INNER LIGHT are reel-to-reel tape loop arrangements based on some 70s- and 80s-era meditation cassettes (found in a church library, with an archive of photographic slides which reappear in Templeton's supplementary photobook, A GUIDE TO INNER LIGHT).

Originally made to foster relaxation and well-being in a liturgical setting, the recordings now have a lysergic skew, as if heard underwater during the immersion of a baptism — a sonic lustration... An electric fan blows air onto an incandescent bulb hidden inside the machine. We hum along as the filament burns and we puzzle together a fantasy. We hear the inner light before we see it. The ears tell the eyes where to look, and the eyes look inward.”

- Mike Slack

Mark Templeton is a Canadian media artist and the founder of Graphical, an audiovisual label dedicated to publishing his own musical and image based experiments. Mark’s audio compositions are constructed from reel-to-reel tape loops and sampled cassettes that are contrasted with contemporary sound techniques. In his published photobooks, he incorporates his own 35mm pictures and found images, focusing on intangible fantasies and realities. During his audiovisual performances, he utilizes digital instruments while projecting his own photographs, VHS footage, Super 8 film, and other sampled video.

Since 2007, he has released material on various international record labels and photobook publishers, both as a solo artist and in collaboration with other artists.

Templeton has performed live and exhibited his work at art galleries, festivals and alternative spaces throughout North America, Europe, United Kingdom and China. 

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Written and produced by Mark Templeton 2020-2023
Audio finalized by Glyn Maier
Photographs found and edited by Mark Templeton
Essay by Mike Slack
Design by Joe Bastardo

Inner Light

Mark Templeton - Languages (ENXEVP03)

Originally posted by Silk House Publishing as "Silk House Sunday 16".

Recorded with two turntables with +/- 50% pitch control in darkness facing a coelcerth (bonfire) as the leaves fall at the end of summer 2021 and we present an offering for our departed. Many thanks to Ryan Martin for organizing a fitting ritual for noson galan gaeaf / samhain / halloween with spectacular performances by Allesandre, Karl Raymar, Cevra, and Cornelius F. Van Stafrin III. Blessings to all.

Artists featured...

Nat Baldwin
Harold Budd
Carl Stone
Tod Dockstader
Jessica Ekomane
Dan Gibson
Morton Feldman
Beatriz Ferreyra
The Harmonic Choir
Mary Qarjjurarjuk
Aemili Takatak + Nelli Apaqaq
Elijah Pudloo Mageeta + Napache Samaejuk Pootoogook
Mari Apaqaq + Soria Eyituk
Napache Etidloie Toonoo + Qaunak Martha Meekeega
Secret Boyfriend
Peter Zinovieff
Xth Réflexion
Arvo Pärt
Kaspars Kurdeko + Rūdolfs Macats + Kaspars Vizulis
Ann McMillan
Brad Miller
Begoña Olavide
Phill Niblock

Glyn Maier - Coelcerth Mix (DJ Set Halloween 2021)

143 — Butterflies at night in the forest

Originally composed for livestreaming events during the ongoing lockdown of 2020, Felisha Ledesma presents two extended pieces as a debut album, “Sweet Hour”. Ledesma’s first full length release arrives after much experience in creating collaborative works with artists such as Isabella and Angelo Harmsworth, site-specific installations, and high-profile festival performances.

Both pieces were realized using a new software synthesizer, called “AMQR”, which Ledesma built for personal use in collaboration with Ess Mattisson. Contrary to many digitally-based compositions, a distinctly warm and organic palette pervades these recordings. An almost playful leisurely pace is employed, engaging the listener to listen deeper; the pieces gracefully evolve with special attention to subtle shifts in stereo field and sonic coloration.

The time-of-day titles illustrate the two distinct moods conveyed: "7:00 AM" integrates field recordings and a hardware modular synthesizer, taking the listener through a psycho-acoustic journey exploring various nooks and crannies of subdued auditory rivulets: perhaps a hidden woodland brook, a sunny glen, a crunchy gravel walkway. "2:00 AM" harkens to the memories of nightclubs, opening with a synthesized arpeggio which could lead into a dancefloor-ready stomper. But instead, Ledesma steps back, allowing the arpeggio to develop into an encompassing ASMR-like timbral massage. The two compositions are united in a slightly melancholic grasping for connection; are they unfolding or are they unraveling? Ledesma does not answer the question outright, but instead finds joy in superposition and sublimation - while creating a space for the listener to inhabit, to live in, and to re-connect.

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Felisha Ledesma is a multi-disciplinary artist currently based in Berlin, GER. In Portland, OR, Ledesma co-founded and directed numerous organizations focused on experimental sound and community engagement such as S1 (an artist-run space) and the Synth Library (a lending library for electronic music equipment). Most recently Felisha co-founded Fors (fors.fm), creating "novel instruments that are elegant to use and adventurous in sound" in collaboration with Ess Mattisson and is studying sonic arts at Universität der Künste, Berlin. 

releases January 29, 2021

mastering :: Ess Mattisson

cover artwork :: Felisha Ledesma

design ++ layout :: Robin JM Vanderheyden

all proceeds to Equitable Giving Circle :: www.equitablegivingcircle.org

Sweet Hour

Felisha Ledesma - 7:00 AM [Excerpt] (ENXPL04)

§ focused on contemporary sound and growth
✔ hand-constructed out of recycled materials as possible
♥ all proceeds to positive endeavors

Bridget Ferrill - Viola da Gamba (ENXPL10)

enmossed