Akari is the third album from Tokyo duo Illuha. Following 2011’s debut Shizuku (12k1067) and 2013’s Interstices (12k2028), Akari takes the next artistic step for the band. While Shizuku was recorded in the US and completed separately by the artists, Interstices captured the duo creating their exceptionally detailed music together live during a Japaneses tour. Akari, in turn, is the first studio album where Illuha recorded and mixed together, throughout the entire process. The beautiful st-robo studio in Tokyo put a collection of amazing equipment at their fingertips, from vintage mics and outboard gear to a vast collection of instruments, both acoustic and electronic. Their writing sessions were numerous and long with details meticulously obsessed over for nearly a year. The result is the most bewildering music Illuha have created to date. An album swimming with the most delicately tactile sounds and instrumentation that draws the listener in with hushed, motionless attention.

While Illuha’s Corey Fuller and Tomoyoshi Date are often drawn to the most sparse notes of Rhodes and Wurlitzer electric pianos, acoustic grand piano and guitar, the breadth of instrumentation is partially what makes Akari so abosrbing. They have succeeded in creating their own universe of sound, so beautifully recorded, where each element not only has its own space but connects and interacts so fluidly with the other sounds. It is as if they are placed perfectly by nature, the compositions are fluid and organic, a far cry from anything calculated or structured. It is this open space that the music exists in which in turn defines the music itself. There is ample room to breathe within this forest of gentle tines, bubbling analogue synthesizers, clicking percussion and quiet field recordings. This is subtlety at its most refined; hushed without being saccharine, distant without being morose.

Akari is the Japanese word for light. Conceputally the duo used this word as a guide, as if they were searching through the dark, trying to keep the light alive, as if one is cradling a candle doing everything in their power to keep it alight in a storm. It is this almost visceral sense of sheltering, of protection, that gives Akari a very human and personal sound whose intensely deep focus is as impressive as it is arresting.

Akari

Structures Based on the Plasticity of Sphere Surface Tension

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Structures Based On The Plasticity Of Sphere Surface Tension

This track has been released on vinyl on the 20th april 2015 by Emotional Response and it is available from:
http://www.juno.co.uk/products/abul-mogard-harmionius-thelonious-schleissen-1/555224-01/

Digital download available from: https://goo.gl/033W7A

Dizziness that shakes rivers and mountains

This piece was composed and recorded between November 2013 and April 2014.

A new version of this track is part of the cassette "The Sky Had Vanished" released in July 2015 by Ecstatic Recordings.

https://ecstaticrecordings.bandcamp.com/merch/abul-mogard-the-sky-had-vanished-cassette-2nd-edition-white-cassette


My other works can be found at my bandcamp page:
https://abulmogard.bandcamp.com/


Desires Are Reminiscences By Now

'Miaux is the operating handle of Belgium's Mia Prce. Most of her prior recordings have been issued by Dennis Tyfus' Ultra Eczema label, but after catching her set at last year's Bruismelk festival, Feeding Tube had to “have” her new record. 
Unlike other known works, whereon Miaux is a mistress of elaborate keyboard shenanigans that border on the gothic, Above the High Rays brims with music of a very soundtrackly nature. It mixes Neo-Eastern percussion symbiography with floating swathes of parachute color, all of it presumably birthed from Mia's hands and keys. It's easy to imagine a Jodorowksy carnival scene, shot like the opening of Welles' Touch of Evil, while this album spins. It is soaked with a haunted, lonely quality that touches the edges of mystery like a torch. 
Cover art and one side of etchings by Mr. Tyfus, himself. The tears you shed will be your own.'
Text by Byron Coley

Above The High Rays was composed for a screening of René Clair's sci-fi classic Paris Qui Dort. Released on a one sided 12" with etching on Feeding Tube Records and on cassette on Ultra Eczema.

Above The High Rays

Above The High Rays, 12" Feeding Tube Records / Tape, Ultra Eczema

528 Hz - Transformation Through Sound

ALIVE

ME 
(Felicia Atkinson & Jefre Cantu-Ledesma)

From 'Comme Un Seul Narcisse'
Shelter Press / SP070

https://shelterpress.bandcamp.com/album/comme-un-seul-narcisse

Comme Un Seul Narcisse

ME (Felicia Atkinson & Jefre Cantu-Ledesma)

Taken from the upcoming album Both Lines Will Be Blue, out July 12th on Smalltown Supersound. Produced by Carmen Villain. Flute performed by Johanna Scheie Orellana. Mastered by Matt Colton.

Observable Future

From the album "Tea Notes". All music by Jatinder Singh Durhailay & David Edren. Recorded january to march 2018 in Antwerpen and London. Mixed and edited by David Edren at ll150. Mastered & cut by Anne Taegert at Dubplates & Mastering Berlin.  Artwork by Victor Robyn. Vinyl + digital release on Ekster: 12th of September 2019: https://eksterlabel.bandcamp.com/album/tea-notes

Tea Notes

Jatinder Singh Durhailay & David Edren: "Shincha"

"Reiterations" by First Tone from "Reactions" 2xLP/Digital due out October 2019.

"Reiterations" by First Tone

Félicia Atkinson is a French musician and artiste. 
She co-runs the  independent music label Shelter Press.
Buy and support her music on http://www.feliciaatkinson.bandcamp.com
for booking enquiry: regina@frontporchproductions.org
Her latests albums are Ni Envers ni Endroit que Cette Roche brulante (2023 Portraits GRM), Image Langage (Shelter Press 2022), Echo (Boomkat Editions 2021),  Everything Evaporate (2020), The Flower and the Vessel (2019), Hand in Hand (2017), Limpid as a The Solitudes (2018) andComme Un Seul Narcisse (w/ Jefre Cantu Ledesma) (2016) and A Readymade Ceremony (2015), all on Shelter Press.
https://www.youtube.com/watch?v=4sCduY3moHU
Her work is under publishing by Mute Song