Experimental

The Boy and The Tree

Grass, Tree and Stone

ISRC code: GBDCA0300284
Composer: Max Richter
Album: The Blue Notebooks
Track: Arboretum

Artist: Max Richter

If you want more information about this track please e-mail sync@decca.com 
Please quote GBDCA0300284 in the subject line.


Richter: The Blue Notebooks, Arboretum

Taken from Saffron "Petra I", out on cassette and digitally 24 March 2015.

Buy Tape: http://1080pcollection.bandcamp.com/album/petra-i

Press: http://1080pcollection.net/saffron-petrai.html

www.facebook.com/1080pcollection

Saffron - Yalla (Moksa)

Concret PH (1958)
created for the Philips Pavilion
PH = paraboloïdes hyperboliques
concret = reinforced concrete/musique concrète

Iannis Xenakis - Concret PH (Nerve Remix)

Stereolab_Nurse_With_Wound_Simple_headphone_mind.mp3

The Antinote guys have always been keen on introducing new names to you and this addition to the label’s catalogue makes no exception to the rule: they are pleased to present Sfarot, the debut EP from Alek Lee, a musician currently living in Tel-Aviv.

The geographic origin of the artists on the Parisian imprint has never been felt as much as on Alek Lee’s debut 12”. In a very “fourth world” manner, Alek Lee brings together middle-eastern influences in his music with ease and without ever having it sounding cliché: on Harabait and Sfarot (and its dub version), his friends and him play the violin, the bass clarinet and the accordion in a way which reminds of Klezmer music, putting the three songs on the EP in line with both his musical education and his cultural background. 

This seems strikingly true when taking into account the process Alek Lee went through to record the tittle-track: the original material used in Sfarot comes from a recording Lee did a few years, and on which were recorded traditional songs Israeli children used to learn at school, performed by a choir of very young kids. Both conceptually and musically hypnotizing, Sfarot and its dub version take the listener on a slightly psychedelic trip
as the haunted voices from the kids loose themselves in long reverbs and are backed by a wide range of instruments played by the Israeli musician including an electric organ, percussions, etc.

And if you are still in need of more dubby excursions, the closing track is the one for you !

Sfarot

ALEK LEE - SFAROT

Poetry, speech, melody and electronics combine on this limited tape from new sub-label ‘Purely Physical Teeny Tapes’.

A change of pace for PP, ‘Figures’ is also a divergence for the two artists involved. Emerging from Melbourne, 'Figures' is a rare artefact for devotees of both poetry and electronic music. The release marks a protean coming together by two figures with curiosity for each other's practice, forming a union between sound and speech to explore themes of bodies, time, language and power.

Lucy Van, who works as a post-doctoral researcher in English and Theatre studies, offers her poems in spoken form and also transcribed in full for the poster in the release.

Laila Sakini, a DJ who has recently emerged as a songwriter-producer, shapes music around each poem intuitively, adding context with restraint, in an experimental, yet pop-conscious process.

Initially developed as a one track hobby project for a noise and spoken word poetry night (which was cancelled), 'Figures' continued to evolve into a more complete body of work, with Laila leaking the demos on her NTS guest slots, leading to this eventual, finalisation of an EP.

The release is presented on a pro-dubbed all clear tape, packaged with an A2 double sided fold-out newsprint poster, all housed within a PVC heat sealed pouch.

Out June 2nd, 2017.

Mastered by Rashad Becker.

Edition of 100.

Laila and Lucy:

Lucy writes about poetry and photography. She is a post-doctoral researcher in the English and Theatre Studies program at the University of Melbourne, and an editor at Cordite Poetry Review. Lucy also writes lyric and prose poems, and has spoken at venues including The Slow Canoe, Station Gallery, and the National Gallery of Victoria.

Laila's role as a DJ and emerging producer/songwriter has seen her traverse between her home town of Melbourne and London. She has performed across clubs and festivals in  Melbourne and in various venues throughout London, Paris and Belgium along with art spaces including The National Gallery of Victoria, Carriageworks and The Australian Centre for the Moving Image. She presents semi-regularly on NTS Radio, has appeared on Boiler Room and has opened for the likes of Dopplereffekt and Optimo. Laila has recently begun producing, writing and performing live solo and collaborative works.

Laila Sakini & Lucy Van - False Ceiling

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

Preorder EP: itzonlykamehouse.bandcamp.com

Ode To Sansevieria EP

A1 Ode To Sansevieria

From Lindstrøm's upcoming album release 'It's All Right Between Us As It Is' out worldwide October 20th via Smalltown Supersound/Feedelity Recordings.

Learn more here: http://smarturl.it/sts320

Lindstrøm - Bungl (Like A Ghost) feat. Jenny Hval

Ursula Bogner: Winkel Pong
Format: 7” Vinyl/DL
Label#: faitiche15
Release date: Sept 8th 2017
 
Faitiche is delighted to announce the release of a new Ursula Bogner record (faitiche15). Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner’s tape archive (CD/LP Recordings 1969-1988, faitiche01). A second followed in 2011, compiled this time by Andrew Pekler (CD/LP Sonne = Blackbox, accompanying the book of the same name with texts, photographs and Bogner’s graphic oeuvre). For Winkel Pong the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.
 
Gundrun Gut (Malaria!, Einstürzende Neubauten), an activist and reluctant chronicler of Berlin’s underground scene since the 1980s, has worked with Lucrecia Dalt. She is also familiar with Ursula Bogner’s work. Reason enough to ask her for an interview:
 
Jan Jelinek: Gudrun, how does it feel to be constantly obliged to talk about the 1980s Berlin underground as someone who was there at the time?
 
Gudrun Gut: I’ve learned to live with it as there are clearly too few people who witnessed it first-hand. Maybe it’s even important to do these interviews as a woman – so that someone actually says that women, too, have written music history. Men tend not to mention this. But it’s true, people do always ask the same questions.
 
JJ: Did you know about Ursula Bogner in the 1980s? Did you ever meet her?
 
GG: No, I never met Ursula Bogner in person and I only discovered her in 2008 thanks to Faitiche. But that’s no surprise: firstly, I don’t know every single woman artist, and secondly, far too many women artists never see the light of day. In the male-dominated art and music market, women are not considered important – or worse still, they are not understood. Look at artists like Sonia Delaunay, Eva Hesse, Bebe Baron, Delia Derbyshire and Daphne Oram. Some of them have now been discovered – but only recently. A lot has changed in the last few years: there is a growing awareness of art and music made by women.
 
JJ: But isn’t it annoying that the conventional distribution of roles still applies? One example: in many articles, Ursula Bogner has been presented as an “electronic housewife”.
 
GG: When Ursula Bogner is referred to as an electronic housewife, then sadly that reflects the situation of many women artists at the time. Women could only pursue artistic activities in private – transcendence was reserved for men. This has still not been overcome. But today, the home has become a site of professional production for all. I’m talking about bedroom producers: it is totally normal to make art and music at home. And that makes things interesting, because “working at home” is no longer associated solely with women.
 
JJ: For Winkel Pong, Lucrecia Dalt compiled and remixed three pieces from the Bogner archive. You know Lucrecia and you’ve already worked with her. How did you meet?
 
GG: I met Lucrecia through MySpace – I think it was 2007. Back then she was still living in Medellin, Colombia. Lucrecia’s father made loop machines for her that she still uses. The Sound of Lucrecia was part of my 4 Women no Cry compilation series on Monika Enterprise, each with four producers from different countries. She’s great fun to watch as a performer because she has a unique sense of rhythm and feel for music. Above all I’m impressed by her sustained approach as an artist, someone who can and does think around corners. I’m thinking specifically of her album Ou, for which she ploughed her way through post-war German cinema, using it as a source of inspiration for a soundtrack. This is proof that she thinks like an engineer – so it makes perfect sense that she would want to explore the work of Ursula Bogner.
 
Berlin, 2017

Ursula Bogner: Atmosphärische Energie (edited by Lucrecia Dalt)

Plantastic

Greie Gut Fraktion - Baustelle /ReKonstruction
Alva Noto Remix
monika67

GGF: Wir Bauen Eine Neue Stadt - Alva Noto Remodel

<b>Starting Block, le magazine hebdomadaire des scènes locales du réseau Radio Campus France</b>

Entretien avec Julien Rohel, fondateur du label Clapping Music

Tracklist :

Steve Reich
Henry Purcell
Dead Can Dance
King Q4
François Virot
Yeti Lane
My Brightest Diamond
John Coltrane
Sister Iodine

Une émission réalisée par Radio Campus Paris 93.9 FM

http://www.radiocampus.fr | http://www.clappingmusic.com | http://www.radiocampusparis.org

Starting Block @Paris : Clapping Music

Katharina Ernst - X 01 [V_011]

From the upcoming album, 'Ambivalence', out Oct 26th on Smalltown Supersound.

GGF: Wir Bauen Eine Neue Stadt - Alva Noto Remodel

ggut

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