Rosencrans Exit (from "The Bet" on Watery Starve Press)

South Londoner Bill Bawden has been releasing delicate ambient music since 2005 under various guises, most notably albums and EPs on Serein, 12Rec, Resting Bell, Audio Gourmet and Rural Colours under the name Herzog. On his first full-length release under his Prairie Lines moniker, Bill has continued to refine his sound, processing piano samples to bring out warm lo-fi textures and layers of static. 
The prairie lines are wide open spaces and homely values. Pylons and cables stretching for miles. Lines of migration. Interrupted communications. 

eyes down slowdown is a call to become more introspective, to temporarily reject the speed of life around you. 
An invitation to a (sinister?) place of worship, stepping into a resonant holy chamber.. this is where we kneel. A secret home away from the buzzing city streets, but also a secret home inside yourself. The performance of a repetitive ritual in order to achieve some result. A bright melodic loop which gradually corrodes (over time? or while some other truth is revealed?). A familiar sequence that gradually falls apart, an examination of what is necessary. A repetition to bring about 
a trance-like state.. to see without seeing and hear without hearing. To touch hands from the sky. 
Calm landing.. to descend to somewhere new (or a transformation of the familiar).. an open field and a gentle breeze. 
To accept the familiar and unfamiliar as one, to be comfortable with life whatever it holds. 
Stop haunting my door.. not a physical door but a way in (to a higher consciousness?) The ghost is not trying to gain access but preventing you or anyone close to you from 
gaining access. Smile but prepare (..for what?). When you look inside yourself, what if you don't like what you see, or it scares you?

Eyes Down Slowdown

wlr031 the prairie lines - eyes down slowdown

Both the 1970 Hope College premiere, performed by a 14-piece ensemble, and a 1977 recording from Wesleyan University, performed by a 43-piece orchestra. The first commercially available release of this eerie, beautiful, and important Oliveros work. “Shortly after it was published in 1968 the SCUM Manifesto by Valerie Solanas fell into my hands. Intrigued by the egalitarian feminist principles set forth in the Manifesto, I wanted to incorporate them in the structure of a new piece that I was composing. The women’s movement was surfacing and I felt the need to express my resonance with this energy. Marilyn Monroe had taken her own life. Valerie Solanas had attempted to take the life of Andy Warhol. Both women seemed to be desperate and caught in the traps of inequality: Monroe needed to be recognized for her talent as an actress. Solanas wished to be supported for her own creative work. Commissioned by the Music Department of Hope College, Holland Michigan, To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation had its premiere in 1970. Though everyone knew Marilyn Monroe hardly anyone recognized Valerie Solanas or took her Manifesto seriously. I brought the names of these two women together in the title of the piece to draw attention to their inequality and to dedicate the piece.” – Pauline Oliveros.

“Much of Oliveros’s aesthetic is best understood as environment, areas of aural doldrums providing momentary and slightly queasy resting points, like the requisite standing back from a massive architectural work to take in the whole before venturing back in. In To Valerie Solanas and Marilyn Monroe, the hallmarks of Oliveros’s later philosophy and aesthetic are brought into direct play with politically-charged expressionism. Kudos to Minneapolis-based Roaratorio Records for uncovering such a significant work, a piece of music that will probably scare the living shit out of you. Valerie Solanas would be proud.” – Clifford Allen, Paris Transatlantic

“…it’s beautiful and strange, emotionally articulate, and I also believe it succeeds as a much less stilted approach to open composition than Cardew, Cage or Stockhausen. It is truly natural and unforced organic music, semi-scored and collaborative, making efficient use of the energy of the musicians she works with.” – Ed Pinsent, The Sound Projector

**** 4 stars : “Oliveros’ magnum feminist opus has a protracted tonal structure comparable to the work of Giacinto Scelsi. Its tenebrous expressivity is beautifully matched by the cover art…” - All Music Guide

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To Valerie Solanas And Marilyn Monroe In Recognition Of Their Desperation: for any group or groups of instrumentalists (6 to large orchestra), Smith Publications, c1977.

1970 Performance: at Wichers Hall, Hope College, Hope, Michigan; 6 October 1970. 
1977 Performance: at Crowell Concert Hall, Wesleyan University, Middletown, Connecticut; 7 April 1977.

Roar21 - Pauline Oliveros "To Valerie Solanas... 1977" [sample]

Edit from the 34minutes long one track album "Nótt"
release date 27.09.2019

Nótt

Gareth Davis x Duane Pitre - Nótt (edit)

Nighttime (tomonari nozaki / 2019)

Մենք փնտրում էինք մեզ միմյանց մեջ...

Սայաթ - Նովա - Անանուն

tumblin' down studio raudieauskugga & bagarmossen hq

Karl Bult - ˈyändər version

Bloom

Keeping

Track taken from Erik Williamson's upcoming album 'The Streets Are Quiet, But The Birds Very Loud', released through Fluid Audio...

Written & Produced by Erik Williamson at In My Room Studio 
Additional Piano Recorded at Alchemix Recording Studios
Mastered by Marly Lüske at Alchemix Recording Studios
Images by Erik Williamson
Design by Daniel Crossley
Thanks: Craig Tattersall / Cotton Goods

www.fluidaudio.bigcartel.com

The Streets Are Quiet, But The Birds Very Loud

Erik Williamson - Hunters In The Snow

FOR INQUIRIES/BOOKING LIVE/DJ SET PLEASE SEND E-MAIL TO: fbfinger@hotmail.com
"Benjamin Finger was educated at Oslo Photo Art School before he started to study fiction film to become a director at the Film and TV Academy in Oslo. Since then he has done several short films, music videos and participated at various photo exhibitions, besides working for television, NRK. He has shown works at Fotogalleriet (Vårutstillingen for fotografer) 2001, Trondheim Open 2011 and Smiths Row (UK) in 2013. Benjamin is currently working as a freelancer and have by accident been composing music since 2007. 
The debut album "Woods of broccoli" was released on How Is Annie Records in 2009 followed up by "For You, Sleepsleeper" in 2010 on the same label. Since then he has released albums on labels worldwide, such as Time Released Sound(US), Watery Starve Press(US), Digitalis Industries(US), Eilean Records (FR), Shimmering Moods Records(NL), Blue Tapes/X-Ray Records(UK), Sellout! Music(NO), Oak Editions(IT), Flaming Pines(AU, Forwind (UK) Karlrecords (GE), Never Anything Records (US)Fuid Audio (UK), Krysalisound (IT) and Woodford Halse (UK). Besides his solo projects he also makes up one half of the electronica duo Beneva vs. Clark Nova which have released two full-length albums so far. Benjamin has played at various club/venues in Norway (both as an artist and DJ) and also toured in the US; San Francisco, Portland and Seattle in 2014. 2015, 2016 included gigs in the UK including playing Supernormal Festival and and Cafe Oto in London. Two last year's has seen him playing a couple of times in Austria and Croatia for the Klangfest Festival, Echoes on the Road and ALARM. In 2018 he did a short UK-tour and also played the Rewire festival in The Hague 2018 with Mia Zabelka and John Hegre. In 2019 the trio also performed at Meakusma Festival in Belgium . 
Benjamin has played support for bands like Youth Lagoon, AU, Sun Araw, Patten, The Dave Harrington Group and Medusas Bed (w/Lydia Lunch)".

Rosencrans Exit (from "The Bet" on Watery Starve Press)

Benjamin Finger

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