Physical: geographic-north.com/#/GN37-detail
Digital: geographicnorth.bandcamp.com/album/inversions
Catalog #: GN37
Enharmonic black cassette, limited to 100
Mastered by Sean McCann

Arp is the solo project of Alexis Georgopoulos, a composer/artist/producer based in New York City. Inversions is the latest chapter in Arp's evolving narrative, a diverse musical sprawl that has issued sets of captivating brilliance on the likes of RVNG Intl., Mexican Summer, and Smalltown Supersound. This cassette fortuitously bridges together Arp's shapeshifting identity, from avant-koscmische tinkerer to avant-classical composer and dance-floor modulator.

"Raga for Moog & Violin" and "Flamingo" were originally created for a sound installation presented at Jack Hanley Gallery in New York City in 2014. Both tracks were composed in the same key (C minor Dorian), chosen for its ability to be heard in great lengths of time, its root in cultures from ancient Greece to India, and its link to visions of futurism, Arp's sound installation reflects and refracts themes explored by both creative studio RO/LU and filmmaker Paul Clipson. 

Using a Moog synthesizer, and featuring Nicky Mao (who records under the name Hiro Kone) on violin and piano, the mode allows the listener/visitor to focus on sound at times and plays a subliminal, sometimes barely perceptible role, at others. Analog synthesizer overtones give way to violin, moving gradually at first, then building into a cascade of sound, before receding. This process regenerates over the course of the piece, each time doing so differently.

Inversions also includes "East of the Sun, West of the Moon," a track intended for the installation that was not used in the end. Here, it refinds its original companions.

A1 - Raga for Moog & Violin (ft. Hiro Kone)

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2. BH031 Don't DJ - Pornoire

All tracks written & produced by Infuso Giallo
Mastered by Steffen Baldo

Preorder EP: itzonlykamehouse.bandcamp.com

Ode To Sansevieria EP

A1 Ode To Sansevieria

Asian Psilocybe Foundation - Neo Tokyo

HG1706 - Hallowground.com
Buy the vinyl or digital album here: http://bit.ly/2xwBugg
Distributed by A-Musik and Cargo Rec.

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MARTINA LUSSI - Citrin

Moon Wheel — Maze Siren

LIES-114
MAXXXBASS-Untitled 8
from the upcoming "Gone Fishing" lp
to be released June 15th 2018

Gone Fishing

Buy Direct

MAXXXBASS-untitled 8 (LIES-114)

Artist: ASUNA & Jan Jelinek
Album: Signals Bulletin
Label#: Faitiche18
 
Faitiche is delighted to announce the release of a new collaboration between the Japanese sound artist ASUNA and Jan Jelinek: the album Signals Bulletin brings together joint improvisations and compositions made over a period of three years in Berlin, Kyoto and Kanazawa. ASUNA’s meandering organ drones merge with Jelinek’s pulsating synthesizer and field recording loops to create dense superclusters that span broad harmonic arcs.

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Watching the Japanese sound artist ASUNA playing the organ, some people might be surprised. ASUNA is no virtuoso flying over the keyboard in a rage. Instead, with the calm gestures of an office worker, he cuts strips of adhesive tape to the correct length before sticking them onto the keys of his instrument. In this way, large clusters of keys are held down, creating a dense and sustained range of frequencies, while the sound artist continually prepares further sets of keys or removes tape again. I have rarely seen a more convincing performance concept, with such a power to fascinate.

I first met ASUNA when we both gave a concert at the 21st Century Museum of Contemporary Art in Kanazawa, his home city. He performed the organ drones as described above and I immediately knew I wanted to collaborate with him. Six years and five meetings later, we completed Signals Bulletin. The album includes both joint improvisations and compositions, recorded in Berlin, Kanazawa and Kyoto.

Whether using prepared organ, Casio keyboards or mechanical plastic toys, ASUNA creates rich textures of sound that barely change over long stretches of time. It is a music without breaks. For a while, I was unsure how my loops made using modular synthesizers and live sampling fitted here – until I realized the role I had to take in this duet: I would provide the rhythmically pulsating foundation over which his dense continuums could unfold.

The result is harmonically drifting superclusters that put us into a meditation-like state. It can perhaps be compared to Automatic Writing – a mode of creative expression floating somewhere between concentration and distraction. Both the structure of our pieces and our approach to our instruments allow a similar “absence”: we let the machines play and repeat themselves – while we, in a mild form of trance, adopt the role of observers, intervening only occasionally.

It is no coincidence that ASUNA owns a collection of Doodle Art – drawings jotted down during conversations or while talking on the phone. It is said that works made like this point to the unconscious and reveal pet motifs – because a doodler always inadvertently returns to his or her favourite themes. The artwork for Signals Bulletin features pictures from the collection, in this case sheets of paper from the pads provided in stationery shops to test out pens. The special quality of such doodles is that the jumble of drawings is the work of a collective whose individual members do not know each other. Layer by layer is added, by someone different each time – until it becomes a dense cluster of lines and symbols ...
Jan Jelinek, Berlin 2018

ASUNA & Jan Jelinek: Relief, Pt.1

ALPHABET - ALPHABET (N-047)
Release date: Nov 15th, 2019

Track list
01: A-BU –> BUG –> BU-CR 
02: CRIME 
03: CR-FO 
04: FOU 
05: FO-LU 
06: LUNE 
07: LU-NO 
08: NOTE 
09: NO-QU 
10: QUELLIE PARTIE! 
11: QU-SO 
12: SONNET 
13: SO-ZOU

ALPHABET explores the combinatorics between signs on one side and signals on the other. The performance, inspired by the Etymologies of Isidore of Seville twisting the scientific rigor to privilege phonetic acquaintances, revisits the strategies of representation invented by the man to tell the world around him in the digital age. ALPHABET invites the spectator to immerse themselves in the multiple relationships that, through language and its digital translations, maintain words and things.

After many collaborations this new record by Anne-James Chaton and Carsten Nicolai aka Alva Noto speaks a new language, generated by the fusion of objective poetry and minimal music. From the dialogue of the graph and the glitch a poetics of the code is born from which arises a representation of the contemporary world.

Alphabet Live dates:

// 30th October Trauma Bar, Berlin
// 17th November St Luke’s Church at Barbican, London
// 29th November Caixa Forum, Barcelona

@alvanoto

https://www.annejameschaton.org/
http://www.alvanoto.com/
https://noton.info/

ALPHABET

Digital album & CD

ALPHABET - NO-QU

All 5 tracks on ​12" Matas Flores y Algo Más ​were jammed and recorded between late 2018 and early 2019, with Juno 106, Yamaha DX7, Korg Wavedrum and Pearl SC40. 
A1. Self Similar Melodies
https://tulips-de.bandcamp.com/

Sound enthusiast and percussionist Tulips, plays with NASSSAU, as P.VEE with TRJJ (Stroom), and MONTEL PALMER.

Tulips - Self Similar Melodies

Artist: Masayoshi Fujita & Jan Jelinek
Album: Bird, Lake, Objects
Label#: faitiche03
Format: LP/DL

Vinyl repress of faitiche03 & 13 available on July 17th 2020!

Queried on his favourite word in the German language, Masayoshi Fujita will pick ‘getragen’ – without a sliver of hesitation. Further questioning will reveal that he loves the term’s semantic signifiers, its inherent sense of “expansive, deep, quiet and sombre.” And yet, ‘getragen’ leaves plenty of room for interpretation: depending on context, it might also indicate wearing apparel or the state of being carried – two more mundane interpretations that I would rather keep from him.
Does Masayoshi’s own definition, however, apply to Bird, Lake, Objects? Only to a limited extent. Compared to previous Faitiche releases, Bird, Lake, Objects is certainly the most ‘getragen’ of them all. Nevertheless, this is by far not the first association that comes to mind. From a distance, these tracks seem rather introspective, cautious even – and reflect the recording situation: deliberately pared down, reduced to a single microphone in space and a separate track for all other instruments, each movement and action is chronicled by the treacherous mike. This confronted me with some unexpected and unfamiliar problems. For example, we had to swap out the seating in the studio as my favoured chair had a characteristic creak. Other, external influences proved to be beyond our control: fire engine klaxons, street noise and footfall became part of the recordings and their improvisatory nature. Each movement required careful orchestration, fully aware of its irrevocable nature. Space itself was always present and an audible entity, except on "Stripped to RM" (recorded without a microphone or vibraphone track). After extensive deliberations, we decided to forgo the vibes on this piece – a very similar version had already been released in 2008 (on the compilation Enjoy The Silence, Mule Electronic, 2008).

A1 - Raga for Moog & Violin (ft. Hiro Kone)

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