Your level of freedom in making music with left hand above the head makes my fears go away, thanks)It’s also perfect to draw listening to this, i now want to draw somth for you guys, for free, i dont care, just loved the music. 

Satomimagae - Dango (Colloid Version)
Learn more: https://smarturl.it/rvngnl89

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TWITTER: https://twitter.com/satomimagae

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TWITTER: https://twitter.com/rvngintl​​
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Lyrics

うなばらまであと少し 
うなばらまであと少しだけ　
行こう (着こう)
落ちて (うなばらまで)
転がり落ちて (弾むステップ)
落ちていくステップ (弾むステップ)
いびつなステップで (落ちていくステップ)
行こう

転がり落ちて
いびつなステップで
転がり落ちて
いびつなステップで
うなばらまであと少しだけ (行こう)


Almost there to the ocean
Almost there to the ocean
Let’s go (Let's be there)

Falling (Toward the ocean)
Rolling down (Bouncy steps)
Steps of falling (Bouncy steps)
With the awkward steps (Steps of falling)
Let’s go

Rolling down
With the awkward steps
Rolling down
With the awkward steps
Almost there to the ocean (Let’s go)

Colloid

Dango (Colloid Version)

Satomimagae - Dango (Colloid Version)

Terry Jennings – Piece for Cello and Saxophone (SLT-007)

Saltern’s latest offering marks the first-ever release of “lost minimalist” Terry Jennings’ visionary 1960 composition, Piece for Cello and Saxophone, as arranged in just intonation by legendary composer La Monte Young for renowned cellist Charles Curtis. Born in Los Angeles in 1940, Jennings was a close associate of Young, Terry Riley, and Dennis Johnson, and an early adopter of minimalist tendencies, creating slow, sustained music, influenced by jazz, modalism, and late romantic classical music. Jennings died tragically in his early forties, most of his work lost to a chaotic life; however, his forward-looking music quietly exerted a lasting influence on composers including Young and Harold Budd. Composed over sixty years ago, Piece for Cello and Saxophone, foreshadows a number of movements in postwar avant-garde music.

Despite the title, there is no saxophone on this album. At over eighty minutes, La Monte Young’s justly tuned realization of Piece for Cello and Saxophone for cello alone unifies and extrapolates Terry Jennings’ dense harmonies, creating an extended field of complex sonorities in motion, all brought to life by the immaculate playing of Charles Curtis. The recording captures Curtis in a performance from 2016 reflecting more than twenty-five years of dedication to the piece. Piece for Cello and Saxophone is released physically on double LP and digitally with kind permission from MELA Foundation. Mixed by Anthony Burr, mastered by Stephan Mathieu, and cut to vinyl via direct metal mastering by Hans Jörg Maucksch at Pauler Acoustics. Pressed at RTI and printed at Stoughton. Includes a four-page insert with liner notes by Young, Curtis, Burr, and Tashi Wada, and a download of the full recording.

Piece for Cello and Saxophone

Terry Jennings – Piece for Cello and Saxophone (excerpt)

Purchase: bit.ly/3QrFcz1
Catalog #: GN69
August 19, 2022
CASS+DIGI

Born in Baghdad, raised in Tasmania, and now based in Barcelona, Dania Shihab moves between cultures and continents with an amorphous creative vision directly tied to her transient existence. As founder of experimental outpost Paralaxe Editions, Dania divides her time between Spain and the remote corners of Australia, where she works as an emergency doctor. Now, Dania presents her solo debut 'Voz,' which finds her rediscovering her voice as a primary instrument. 

The title “Voz”—Spanish for “voice” and signaling to her transnational experiences between Spain and Australia for the last decade—is especially fitting, as Dania grew up in a household where singing was culturally frowned upon. “I used to record myself privately by dubbing my vocals onto tapes in my bedroom and lied about joining the school choir. A lot of what I did musically was done in secret. For that, I have a difficult relationship with my voice,” Dania explains. And although not all the songs have vocals, the tracks here show Dania’s voice in an undeniably self-reflective, introspective, and cathartic light.

Created using a smattering of looped-and-layered vocals, instrumental samples, modular synthesis, cassette tapes, and piano, 'Voz' is an entrapped exploration of harmonics and tonality, weaving together manipulated vocal fragments, processed field recordings, and meditative atmospheres.
 
Dania sets the scene with the melancholic majesty of “I Lied,” a solitary chorus of lifted and lilted vocals and peripheral drones wafting through the air. “Aleph” floats in an ascending, slow-motion sprawl of synth tones, distant pianos, and kaleidoscopic lyrical abstractions. The low-fi churn of “Fire Dash” offers a vibrant milieu of witching hour merriment; a sinister snapshot that searches in the shadows to find even odder beauty. 
 
“Whale Song” departs the well-trodden path and ventures into a thick brush of humid ambiance like a sweltering aural travelog of some uncharted place. The backward drift of “An Individual” levitates in a bubbly fog of heavenly harmonics, while “The Other Thing Is” awakens in a calm, piano-drenched state of hustle and bustle. “Anomaly” closes 'Voz' in a grandiose din of ethereal melody and glorious devastation.

Dania - "Fire Dash"

Inspired By The Music Legend, Nigel Good.
Hope I live up to his name.

Galaxephant

American avant-electronic musician and essayist Bret Schneider holds no institutional allegiance to one artistic medium. His background encompasses a wide range of work experiences and reveals a man who is connected to the world around him in complex, alienated ways. His thoughts on music and philosophy are intertwined into a billowing exposition. But when exploring the dark recesses of his more aural works, there is an inherent flexibility. Phasing percussive elements and frayed droning lines all lead to a perpetually shifting feeling for an aural uncanny. As fractured as his music can be, there is a dim spark of rumination that threads through his synthetic machinations.

On his latest release, “Xilinx,” Schneider taps into a primordial electronic noise—the kind that rests just on your periphery, unwinding itself to reveal myriad sordid circuits and disjointed projections. These tracks maintain a wired mania, expressing an unsettling undercurrent of ragged repetition and warbling drones. There’s an unexpected elasticity to Schneider’s cabled rhythms, and they often shift across several temporal lines before turning inward, struggling to illuminate an intimate dissonance or imagine a multi-chambered core. Displaying a raw and unusually concise knowledge of how these sounds might fit together, “Xilinx” is part zoetrope, part post-industrial dreamscape. It is an inquiry into the idea of internal movement, a contorted experiment in musical patterning, and an experiment in self-replication.

Xilinx

Bret Schneider - VaVE1

Included in The Wire Tapper 44, the CD compilation included with the August 2017 edition of The Wire.

Badalisc (from The Wire Tapper 44)

GOOD MORNING TAPES: GMT12

GEORGIA: ხმის სიყვარული (“SOUND LOVE”)

www.goodmorningtapes.com/releases/h8m…tmqlu6qnh5wn

100 Min cassette featuring all original tracks from GEORGIA.

GEORGIA: "Phrasing" from ხმის სიყვარული (“SOUND LOVE”) on GOOD MORNING TAPES

The B side of Dissolution. LP/digital release on Glistening Examples, November 11th, 2016.  25 LPs were special edition, with 35 mm slides embedded in the clear vinyl. Copies of the regular LPs are still available on Forced Exposure
https://www.forcedexposure.com/SearchResult.html?SearchType=Basic&Type=artist&Key=olivia%20block

DISSOLUTION B

From Kassel Jaeger 'Swamps / Things' (SP119)
Out on July 10th, 2020 on 2xLP & DL
SHELTER PRESS

—

Over the last decade, Kassel Jaeger, the moniker of the Paris-based composer, writer / theorist, producer, and director of the Groupe de Recherches Musicales (GRM), François Bonnet, has meticulously sculpted a body of multidisciplinary work that rests at the forefront contemporary electronic and electroacoustic practice. On July 10th he will release his new album ‘Swamp / Things’ on Shelter-Press. 

Rigorously experimental without sacrificing the intimacies of self, his efforts as a composer and musician extend across live contexts and numerous critically heralded solo releases, as well as collaborations with Jim O’Rourke and Lucy Railton, both contributing to the record, alongside Stephen O’Malley, Stephan Mathieu, Akira Rabelais, Oren Ambarchi, and James Rushford, and others. 

Deeply invested in the potential of sound as an elemental form - a root phenomenon with a profound capacity for meaning, as much as a multidimensional material for creative process and ideas – Jaeger’s work across numerous fields, be it in text, action, or sound presents a crucial bridge between the optimistic, philosophical origins of electronic and electroacoustic music, the present and where they have yet to delve.

Sound is abstract. When the source is elusive, narrative and meaning shift between the concrete and obscure. With his first solo LP with Shelter Press, Swamps/Things, Kassel Jaeger wades into this foggy, conceptual realm. From memory and metaphor - sliding fluidly through the imagistic and emotive - emerges an immersive, cavernous world that rethinks electroacoustic music on organic terms.

‘Swamps / Things’ was conceived as an opera without distinct characters or text. It draws Kassel Jaeger into his own history, experiences, and the unlikely double of the swamp, a landscape that has held literal and metaphorical sway over him since childhood. Merging 8 works as a total environment, abstaining from distinct shape or discrete articulation, across the album's breadth, sound becomes a shifting mirror for the bubbling, ordered chaos of organic life.

Resting at the junction of concept, emotion, and phenomena - tapping the multidimensional potential for narrative and meaning possessed by each - Swamps / Things encounters an artist of remarkable craft, delving toward the unknown, deploying organized sonority as object and environment, as much as action, movement, passage, and arc. Seemingly possessed by an entropy entirely its own, the temporal gives way to the poetics of space, while the density of an endlessly evolving climate, laden with cacophonous happenings, renders itself still. Flickering images of the natural world - memory and the imagined reformed as sound - present an operatic double for human action and thought. From deep, fog like banks of minimalist long tone, to industrial clamors left as tracks in the mud, or the collisions of shifting pulses, overtones, and textures - captured from across the murky, drone laden waters between the acoustic and synthetic realms - moody, howling cries and tense meditations merge in ambient sheets, capturing a fleeting image of where decomposition gives way to new growth.

A remarkably intimate and forward-thinking aural balm, bristling with complex beauty, Shelter press is overjoyed to present Kassel Jaeger’s Swamps / Things. Two immersive, intoxicating sides overflowing with humanity and ideas.

Swamps / Things

River Wensum Roe Deers

KASSEL JAEGER 'River Wensum Roe Deers' (SP119)

Pre-Order available now via imprec.com 
Cassette edition of 100 via Cassauna/Imprec

“Rupture” was inspired by the southern Italian folktale of Tarantism,
which is said to be an epidemic provoked by the bite of the tarantula.
It causes extreme spiritual possession. 
Aki Onda composed these tracks using the traditional folk music of the region as underlays, mostly in indirect ways but occasionally directly sampled. 
The tracks were recorded with musicians Tatsuya Nakatani, Gareth Davis and Clifton Hyde. The artwork features eerie and uncanny images of the Japanese
photographer Daisuke Yokota.

1. Rupture 
2. Betrayal

3. Rebirth
4. Growth 

Aki Onda : electronics, field recordings (1-4)
Tatsuya Nakatani : percussion, gongs, bells (1-4)
Gareth Davis : bass clarinet (4)
Clifton Hyde : mandolin (3)

Soundtrack for “Rupture” by Aki Onda
Recorded by Tatsuya Nakatani, Gareth Davis, and Aki Onda 
Edited and mixed by Aki Onda 
Mastered by Michael Fossenkemper



Photography by Daisuke Yokota

GEORGIA: "Phrasing" from ხმის სიყვარული (“SOUND LOVE”) on GOOD MORNING TAPES

GeorgiaSounds

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