Released September 19th, 2022

Originally released on CD by Consumer Waste, 2016
https://consumerwaste.bandcamp.com

Giovanni Lami, Bias

Composed entirely from sounds obtained by synthesis, Inaes offers us an energetic and rapid speech, sharp, contrasting and constantly revived. The playful energy, sometimes pushed to its apex, reaches rawness. The resumption in writing made with generally united sound materials is a way to show several facets of the same image, as if we were directing a beam of light on multiple small debris of mirrors and the reflections that shimmers are unpredictable, dazzling and fleeting.

Inaes

1st prize, International Sonosfera Ambisonics Competition 2023, Pesaro (Italy)
Finalist, Fixed medium, MA/IN 2023, Matera (Italy)

Stereo reduction of HoA composed at ICST in Zurich in July 2022.

"The peculiarities of the monad and the hebdomad are the most beautiful "

Khemenu

Pitch, number of notes, time interval, and intensity are randomized, output to the score, and performed.

metal, guitar, water, paper and everything : peeq

https://yoichi-ichikawa.bandcamp.com/album/ones-not-half-two-its-two-are-halves-of-one

one's not half two it's two are halves of one

me and who? (off key 3 days cover)

Field Writings I est une pièce improvisée née de quatre accords/amalgames de notes prédéterminés.  Nous y jouons avec la rencontre et la quasi-synchronicité des sonorités de nos instruments afin de bouger au sein de ces bassins de notes.  Prenant l'allure d'un thème et variation, la progression harmonique reste la même tout au long de la pièce mais la clarté de l'harmonie se voile ci et là du aux libertés et développements que nous empruntons.  La pièce suit le parcours d’un élargissement énergétique depuis une mélodie à l’unisson et d’un retour final à son miroir plongeant vers le bas.

Field Writings I

MARTINA BERTHER / PHILIPP SCHLOTTER, Matt, LP

Release date: September 29, 2023
Catalogue nr. – HG2305
Red vinyl, ltd. to 200 copies
Hallow Ground

hallowground.bandcamp.com

Tracklist:
1. Unruhe (14:10)
2. LFO 1 (07:55) – Single release on September 1
3. Gallia (05:03)
4. LFO 2 (06:26)
5. Frachter (05:10)

Credits:
Music by Martina Berther (bass, organ) and Philipp Schlotter (synthesizer, organ)
Recorded by Flo Götte at Reformierte Kirche Matt (GL)
Pre-Mix by Roland Wäspe
Mastering and Post-Production by Lawrence English
Cover photo by Andrea Ebener
Band photo by Jeremie Luke
Design by Laurin Huber

///

Martina Berther and Philipp Schlotter are prolific in their respective ways, having been active in pop and jazz music, respectively, as well as playing in bands and exploring the outer fringes of sound art or composing music for film. Their first joint album »Matt« was recorded over the course of four days in a church in the Swiss village after which the album was named. Berther and Schlotter worked with the buildingʼs organ as well as synthesizers and electric bass to follow an experimental approach that oscillated between composition and free improvisation. The five pieces, recorded directly to tape by Flo Götte without any additional overdubs, are characterised by an intimacy and rawness that calls to mind the introspective atmosphere of Hallow Ground label mateʼs FUJI||||||||||TA or mastering engineer Lawrence Englishʼs latest album for the Swiss label. »Matt« is the result of two versatile composers and musicians executing minimalist ideas by giving them plenty of space to unfold.

The album opens with »Unruhe,« a composition that is based on the twelve-tone technique. Using a stopwatch to ensure the adherence to the pre-determined temporal intervals between the individual notes, Berther and Schlotter used the church organ and synthesizers for an ominous piece that traverses different moods and levels of intensity throughout its 14-minute run time. »LFO1« and »LFO2« are different variations of the same concept: Based on a synthesizer preset and structured by an organ drone, two tone generators slowly fall silent, resulting in elegiac pieces that call to mind the work of Éliane Radigue. »Frachter« and »Gallia« put more emphasis on percussive elements. Again working with organ as well as Bertherʼs prepared electric bass, this improvisation comprises interlocking textures that sound almost menacing on »Frachter,« while they create a very different atmosphere on »Gallia.« These notable discrepancies in sound and mood are even more astonishing if you consider that the two pieces are based on the exact same recording, played at different speeds.

As two variations on the same idea with very different results, these two pieces perfectly represent how the duo effectively creates emotionally affective sound worlds with very few means. Berther and Schlotterʼs conceptual minimalism yields rewarding, multi-faceted aesthetic results. »Matt« is an intimate album, marked by a sense of vividness and spontaneity, but also the product of compositional conciseness.

Matt

MARTINA BERTHER / PHILIPP SCHLOTTER - LFO 1 (HG2305)

advance track from the forthcoming album "Lichtung" by zeitkratzer director Reinhold Friedl (piano) and Radian member Martin Siewert (guitar). CD / DL out on january 12th, 2024

Lichtung

REINHOLD FRIEDL / MARTIN SIEWERT - Gestade

©
le grand K. 
performance al Teatro Basilica del 24.05.2022
curato da Avidi Lumi

Chiara Mallozzi - violoncello
Davide Maria Viola - violoncello
Renato Grieco - contrabbasso
Riccardo La Foresta - percussioni

Real And Imagined Woman

This track is a cover of D'eon - Transparency song.
Recorded in Marseille (Chartreux) in 2024.

released April 10, 2024

credits
Written and produced by Aymard Caillol
Cello : Swan Eden
Mix : Lou Venturini and Zaccary Caillol
Master : Guillaume Lespinasse
Artwork : Léa nana

lyrics
I just wanna see your face
Doing this was a big mistake
I was told we would live forever
Now I wish I could just escape
I came back as a hungry ghost
And my body's what I miss the most
I don't wanna live forever
I just wish I could decompose

© 2024 Sous le Sang

Transparency

A foretaste of the upcoming Album, winter 2021 (-OUS Records).
_______
Mastering by VFBM 
_______
Immersed in an amniotic atmosphere, we are invited to bathe in the atemporality of the world before birth.

Against a liquid sound background, horizontal sounds intervene that cross space at full speed, stretching time in their course. The speed with which they intervene has the effect of an arrow shot in the direction of a distant future, which brings us back to a linear, horizontal, narrative, historical time, that is to say, to the ordinary world perceived as a successive sequence of events.

The transparency and weightlessness of crystalline sounds act like seraphically elements that connect the fantastic and earthly worlds. At the same time, anecdotal sounds that remind us of specific moments in our lives cross our mind -- liquid, metallic, soft, subtle sounds -- and dense drones mingle to create an experience of their own, each one embedding itself in the personal experience of the listener.

From the beginning we were immersed in this atemporal amniotic atmosphere and then there was the birth, the irruption into the world, history began. We plunged into time to look for the origin, to deepen the story, to understand.

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Ne parle pas de secrets

Free improvisation duet composed of saxophonist Antonin Bourgault and cellist Audréanne Filion, both composers and improvisers.  Based in Montréal/Tiohtià:ke.

Field Writings I

Filion/Bourgault

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