Name: Bind us in Time by Ghostlore of Britain
Duration: 10 min 10 s
Description: Ghostlore of Britain - 'Bind us in time' is a part of '1+1=3' a solo exhibition by Sarah Hartnett at Herrretics gallery in the Peak District. The recording of Church bells used in the track are from St Mary's Wirksworth, an Anglo Saxon church behind the gallery. The entire project is dedicated in loving memory of Sarah's father, Dr D.W. Hartnett 1952-2022

Ziúr - Antifate
Format: LP / DL 
Cat.No. PAN 120
Release Date: 7 May 2021
Purchase: pan.lnk.to/Antifate

Ziúr’s music has always been difficult to classify. A longtime fixture in Berlin’s nightlife, the musician, producer and DJ has cut through decades of threads to arrive on a sound that accurately represents her journey. She’s sung, played guitar and drums and reduced club music to a burning cinder; with “Antifate”, her third album under the Ziúr moniker, she approaches electronic music without any preciousness or reverence to genre.
2019’s acclaimed “ATØ” re-introduced songs to her canon, contorting her vocals over an undulating electronic backdrop. On “Antifate”, she takes this idea further, pushing abstracted pop forms into mists of digital euphoria and extracting unexpected instrumental flourishes from collapsing clouds of distorted rhythm. Electronic instrumentation is melted into acoustic sounds and vice-versa, creating a breathing organic universe that’s entirely Ziúr’s.

“Antifate” is an abstract reference to the mythical land of Cockaigne, a utopia where wine flows freely and houses are made of cake, that provided escapist fantasy for medieval peasants. As the space between our private worlds widens, this fantasy becomes alluring once more - a place where we feel free, with the people who allow us that freedom. With this in mind, Ziúr crafts a soundtrack that’s fantastical and magical, hinged on the idea of closeness and connection at a time when distance is mandatory.

Ghostly voices echo wordlessly over clattering beats and dubwise bass on opener ‘Alive, Unless?’, while the album’s title track sings a more epic fanfare, with a chorus of voices echoing into glittering synthesizer pearls and volcanic kicks. “Antifate” is almost even theatrical at times, something never more evident than on the Talk Talk-esque ‘Fringe Casual’ with its dreamy piano and plucked bass and on closing track ‘The Carry’, where flute is introduced into Ziúr’s rapidly expanding narrative.

It’s tempting to say that this is the album Ziúr has been destined to make, but “Antifate” rejects this concept. Rather, this is the album that Ziúr needed to make now, surrounded by the people that have been able to offer her the place to do it. In mapping out her mythical paradise, Ziúr has produced an album that is deeply tender and inescapably human. It’s an album about freedom, and she has never sounded so free.
The album is mixed by James Ginzburg & mastered by Rashad Becker, featuring artwork by Stefan Fähler.

@ziurinhell

Antifate

Ziúr - Antifate (PAN 120)

Pan Daijing - Jade 玉观音
Format: LP / DL
Cat.No. PAN 113
Release Date: 4 June 2021
Purchase: pan.lnk.to/Jade

What if a song was not a culmination but a singe, an imprint, or a crater left in the wake of creative process? On her new record “Jade”, Pan Daijing composes at a different scale than that we’ve come to know. Since the release of her groundbreaking LP “Lack” in 2017, Daijing has expanded her operatic vision into a series of major commissioned exhibition-performances at institutions including the Tate Modern, Martin Gropius Bau, and the Haus der Kulturen der Welt. Developed for full casts of opera singers and dancers, and reaching for an all-encompassing durational experience of intensity for both performer and audience, the development of these works was for Daijing as emotionally disarming as it was thrilling. In order to continue accessing her own limits, Daijing had to develop a place of sanctuary within her own practice.

Its nine tracks written and recorded over the last three years, “Jade” is the sound of solitary release and refuge, of creative self-sustenance. Written without the imperatives of direct address to performers or audience, “Jade” speaks inward, while inviting a kind of rhetorical listening. The artist draws on materials familiar from her previous work: namely, ascetic electronic textures that rumble and pierce, and voice bent in irreverent directions. In place of catharsis, however, her arrangements here linger in tension, extending curiosity towards the delicate void that nourishes extremes. They toy with the minor capacities of song: repetition, chant, observations that conclude without resolving.

“Jade” comes from a vulnerable place, tender as in an undressed wound caught in the midst of healing over. Vocals, mostly Daijing’s own, arrive as wordless sequences of notes soaring alongside a drone, or plain laughter, or in a few places spoken word. What is said or sung provides fragments of experience and reflection. In the process of piecing together these fragments, the listener is confronted with the tender parts of her own. “Solitude is like an immense lake you’re swimming through,” says Daijing of these songs. “Sometimes you dip your head in and sometimes you lift it above. On album centerpiece “Let,” she speaks to us over the sound of rippling water, returning between anxious scenes to a refrain: “I take my bath in the ocean.” We are not just consuming Daijing’s story; we are being invited to join her in the water.

The album is mixed and mastered by Rashad Becker, featuring artwork by Pan Daijing, cinematography by Dzhovani & design by NMR.

@pan-daijing

Jade 玉观音

Pan Daijing - Let 七月 (PAN 113)

A screaming comes across the club... 

Sweat is a collection of 2017-2021 live tracks. They are structured akin to the live shows I've been doing over these years, missing, of course, some works in progress and forthcoming material usually involved. 

This was the time. And this is the record of the time. 

Every show would get a new version, and these are my favorites. Evidently, most are vastly superior to the sickly versions previously available. These are precious for the experience and knowledge that went into them, they have been whittled down from bricks of compressed noise. 

Shit, basically I felt fucking stupid for having some bangers sit around on my laptop forever cause I'm not playing any of these live again (what shows? what clubs? me and whose army lol?); people keep asking me for these; most people will never see me live, so. And I figured this is a time to start a Bandcamp, seeing how Bio Future Laboratory is still selling my shit but won't pay me. 
I am still real, I exist. 

Thank you to everyone for inviting me to play, and thank you to everyone for coming to hear me play. I remember this; it happened. 

You may view this as a live album, and you may pick your favorites from the repeated tracks, which would give you a vague approximation of a show, minus the sweat.

RPG (Live 2021)

Ghostlore of Britain - 'Bind us in time' is a part of '1+1=3' a solo exhibition by Sarah Hartnett at Herrretics gallery in the Peak District. The recording of Church bells used in the track are from St Mary's Wirksworth, an Anglo Saxon church behind the gallery. The entire project is dedicated in loving memory of Sarah's father, Dr D.W. Hartnett 1952-2022

Bind us in Time

Kalione ft. DJ MA GILLA - Empy Rean

We're pleased to share with you our third compilation , and we hope you'll enjoy it. 
Dedicated to the beautiful magical moments of the departing summer.

big thanx to @maidenn @m0rimori @107_18 @kal1one @wa-ste222 @hp925mp463 @yancitygurl @igor-maximilian @thecryingnudes @user-251557634 @tumy06 @arte001 @rab_neba @bewareilive @fmsao

mastered by @fmsao

DJ HeadSick - Room Loop

original: https://www.youtube.com/watch?v=E935Od_J4fw

Physically Sick

My Sorrow Is Luminous

Three Dimensional Learning

Further information and purchase @ https://limelodge.bandcamp.com/album/policy

Ellen Phan - Policy

Hydrangea

Fractal Pacified

Sometimes when playing organ preludes and postludes in church, I improvise on rap songs. Sometimes I start with something else (say, for example, motives based on my own interpretations of "redemption" or "jubilation" or "cupcakes") but the journey ends up, somewhere along the way, in the loopy-oriented terrain a rap song or vice versa. 

Most people listening out in the pews more often than not have no idea what sources I quote at the time (depending on who's out there, of course), but the most intriguing part of the exercise is that people of all stripes seem to like the pieces, and have said to be "moved" by them in ways unconventional and far away from a song written for, say, a club. 

There is little material intervallic and harmonic difference between a song played on the organ and a song played through a DAW after all; meaning is ultimately ascribed through timbre and context. This fact testifies to the power of a delicately placed recontextualization and is proof of an "everyday sacred"  contained in even the most deceivingly simplistic 4/4 riffs and 12-bar bass lines.  

A 2013 Gate Production. 
Composed and Performed by Kara-Lis Coverdale in Montreal, Quebec. 

Bind us in Time

Ghostlore of Britain

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