Conceived as an ecotonal space where the multiple sonic reinterpretations of the composition can converge, we are pleased to present the first compilation of EKŌ, a platform inspired by the essence of the spatial and acoustic propagation of rhythmic and experimental phenomena. Which seeks to share through this selection different ideas and creative sensibilities around experimental dancefloor. Where it is sought that, through the value of sharing in equitable and diverse ways, it is motivated to generate changing, thinking and sensitive spaces from, to and with what happens in the world and on the dance floor.

EKŌ baste together and puts in dialogue the personal universes of each creator in this compilation, also as a presentation of what EKŌ is and intends to generate, allowing us to access those meeting points that occur beyond the physical.

Enjoy, dance, share love and music.

Vica Pacheco - Obelisco

slept well

Pique

From "Eight Fantasies" (Trona, 2022)

buy here: https://halles.bandcamp.com/album/eight-fantasies
https://les-hall.es

Les Halles returns with his first new material since 2019’s Golden Hour tape for Hare Akedod. Its origins are something of a mystery to its maker. Floating textures and smeared cloud loops, born of long nocturnal sessions, inspired by a 2022 trip through the California desert. Eight Fantasies is Les Halles’ inaugural release on his new collaborative label / platform, Trona, which will showcase his work and that of an inner circle of peers. As ever, his signature sound is rich with emotion, dreams, and memory, lilting on the winds of change and dissipation. May this be the dawn of many more fantasies to come. (Britt Brown, Not Not Fun)

-

Lieven Martens (Edições CN) on Eight Fantasies:

« A January night in the Gulf Stream, quite some time ago. I sat on a stone wall. Watching the bioluminescence spectacle in the ocean. The moon shone mildly. Fish, and other mammals weaving faiths below the waves. Colors flashing in the breakers.

The hiss.

I cried that night for no reason. Did that ever happen to you? In my mind there was a melody playing by Tatsuro Yamashita. Did that ever happen to you? It was not a sad melody - Rainy Walk. But still I cried.

Tears foretell early morning rain.

Over the course of the past few months, Club Brugge’s esteemed midfielder Casper Nielsen, cried twice. With a reason. Raining his soul over the television screen.

Ssssshhhh.

My partner throwing little pebbles in the water. Flashes of fluorescent light. Like a kid splashing with paint on a deep blue paper. Dripping ohs and aahs.

This music - the best music. Brings rain. A silver rain. May your day water by the tears of Baptiste Martin. »

- 
credits
released November 4, 2022

Music by Baptiste Martin.
Recorded in Brussels, 2022.
Master & Cover by Trona.

Total duration: 32'43.

℗ 2022 TRONA.

Les Halles - View On Golden Gate

To Whoever Shall Inherit the Earth

Reflections on the visit of an old friend.

"Oh, to have control of the trade winds!" (for Threnoscope and Strega)

Charles Curtis: Performances & Recordings 1998-2018 3xCD (SLT-005)

Saltern presents its fifth release, Charles Curtis: Performances & Recordings 1998-2018, the first comprehensive collection of recordings surveying the career of renowned, American cellist Charles Curtis. Selected by Curtis and Tashi Wada from recordings spanning the past two decades, the collection offers a broad, inclusive view of Curtis's activities across the diverse worlds of music he inhabits, containing rare, unreleased recordings, and never-before-released music by Terry Jennings, Richard Maxfield, Éliane Radigue, Alison Knowles, and Curtis. The wide-ranging scope of this release speaks not to a musical restlessness, but to a genuine spirit of inquiry, as these areas of activity for Curtis have existed concurrently in dialogue, not simply in succession, for decades. Over two hours of music by composers and artists with whom Curtis is closely associated including Éliane Radigue, Guillaume de Machaut, Tobias Hume, Silvestro di Ganassi, Terry Jennings, Morton Feldman, Anton Webern, Olivier Messiaen, Alison Knowles, Richard Maxfield, and Curtis himself. Mastered by Stephan Mathieu with liner notes by La Monte Young, Spencer Gerhardt, and Tashi Wada. Custom packaging and screen printing by Alan Sherry; edition of 500.

Performances & Recordings 1998-2018

Charles Curtis – Unfinished Song (1998)

Taken from 'Rhythmic Landscapes', out now on Takuroku - www.cafeoto.co.uk/takuroku

"I wanted to make something which reflected a scene of nature, outside of the city, somewhere which has become more and more attractive to be over the last few months... So I made these synthesised percussion sounds to be almost real and wooden, which are weaving in and out across different tempos, playing patterns that are somewhat regular, but always changing slightly. This is meant to be analogous with the dawn chorus, or any scene of nature where lots of different small events are happening, layered, at once... But I only had the dawn chorus, so I recorded that at 4am on Monday morning. These individual bird songs weaving in and out, repeating, different birds joining and leaving throughout. So it's meant to be 3 different sound environments, or imaginary frames of an environment at 3 different moments." 
- Cam Deas

TR049 - Cam Deas - 'Rhythmic Landscapes 2'

It makes less sense to say that Maths Balance Volumes formed in 2002 than to say that, since that year, they have been collapsing into something, again and again. Just as the three members fell together with no plan or allegiance to any style or genre, each track falls together as the broken pieces of songs and sounds meet to make a temporary and frightening whole. Things make their way into a Maths Balance Volumes song when they don’t or won’t work anymore, when they have escaped their owner, or hidden away where nobody is supposed to find them. When things fall together—when the wooden creaks and radio hisses gather for a minute alongside bass lines and melancholy voice—there is a beauty that sounds like it was made by nobody and for nobody.

The city of Mankato, Minnesota has been the steady gathering point for the band since its beginnings. Mankato had always provided an ominous backdrop: built on stolen Dakota land, the city was the site of the largest mass execution in US history, when 38 Dakota prisoners were hanged on in 1862 in a straightforward act of genocide. But in their music of the past twelve years, Maths Balance Volumes has made music in and of a hometown overshadowed and unsettled by its history, music for a world in which things have never been okay. Traditional American folk genres seep in at times, but never as the incarnation of a living popular culture—only as ghosts or unliving effigies.

A Year Closer tells us already in its title what its theme is: approaching death, time ticking away and getting closer with each track of the record. We are told in the first song that our protective mask isn’t working, warned by the storm clouds and a ticking bedroom clock in “Dark Skies.” We hear fears of death approaching in the sad words exchanged by lovers who see they will run out of time, or already have, as in “We Had Time” or the romantic lament of “When I Drink.” In “Work Last Monday,” all of life passes with cold automatism in an “office apartment,” as a narrator broods over early onset dementia, remembers the details of rituals for respecting the dead, and thinks of how a hole is opening up in reality itself. The singer of “Over the Hill” isn’t apparently afraid of growing older and becoming a “man,” but only leaks a few disjointed details of his plans for disappearing, collapsing, turning into a tree, and finding a home. “Angel of Mercy” tries to resurrect the Christian promise of a life after death, anxiously asking if anyone is up there waiting for us after the oblivion of this world. 

But these are just the moments when A Year Closer speaks in words clear and audible enough to be understood. The giddy, agitated voice of “The Price” speaks only to itself in a private language, hidden away in a tin can somewhere. Musically, A Year Closer is a series of pieces that make symphonies out of separate processes of decay and disappearance: unidentified cracking and creaking objects, broken equipment, and lost melodies that seem to have escaped other songs and wandered into the room looking for a place to hide. These are the moments that the listener of Maths Balance Volumes always knows are coming, waits for, and settles in temporarily for a moment of repose. Maybe this is the meaning of A Year Closer: while waiting for the worst, things come together, a “we” with no name but with a rhythm, a tenuous but definite harmony to share as the clock ticks. Even if, when the lights are turned on, it turns out nobody was there. - Paul Buchholz

Taken from PP48 A Year Closer LP coming soon

A Year Closer

Purchase

Maths Balance Volumes - Dark Sky

Presented as a re-creation of two live sets performed in 2019, Patrick Gallagher deftly melds field recordings, a "fairly standard" synthesis toolkit, and prepared electric guitar into two peerless electro-acoustic compositions comprising his debut album for ENXPL (enmossed x psychic liberation).

As the album's title implies, "Set In the Bardo" embraces indeterminacy in all respects. An extreme range of timbrel variety and complexity is employed, from pure sine waves to nearly-incomprehensible sonic blasts. With a formal education in mathematics, Gallagher's astute arrangements modulate between smooth glissandos and abrupt interruptions, reflecting the compositional process used: salvaging hitherto-abandoned recordings and live snippets from the artist's archive. Post-processing was eschewed on the album in order to preserve the improvisatory nature of a live performance, giving an organic quality to the album which is often lost in academic compositions.

While "Set In the Bardo" was created in pre-pandemic times, it also functions well at this particular juncture of history. We have been 'set in the bardo' ourselves, and Gallagher has made an engrossing set of pieces - encapsulating and unfolding sonic uncertainties as we venture through trying times. Well worth many listening sessions; high volume and high fidelity during playback are recommended.

---

Patrick Gallagher is a sound artist and composer currently residing in Philadelphia, PA. He cut his teeth in the North Carolina avant-garde underground, perfecting his composition processes with numerous live performances as well as releases on Tone Log, Hot Releases, Refulgent Sepulchre, and other independent labels. 

releases January 29, 2021

mastering :: Jack Callahan

cover artwork :: Autumn Casey

design ++ layout :: Robin JM Vanderheyden

a portion of Side A was recorded live at Rhizome (Washington, DC) by Steve Sanford

all proceeds to The Youth Art & Self-Empowerment Project (Philadelphia, PA) :: www.yasproject.com

Set In The Bardo

Patrick Gallagher - Untitled [Set In The Bardo Side B Excerpt] (ENXPL05)

Dialect - Under~Between

From Under~Between.
Available March 19, 2021.

Learn more: https://smarturl.it/rvngnl67

Under~Between

Dialect - Under~Between

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

Patrick Gallagher - Untitled [Set In The Bardo Side B Excerpt] (ENXPL05)

enmossed

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