Geniiial ! Y'a d'un Boards of Canada dans l'air !!

I love your music!!! it's so deep dark and beautiful all athe same time!!!!

Exorcise, from the album 'UNFLESH'. Out 22 September 2014 on Anti-Ghost Moon Ray.

www.gazelletwin.com

Exorcise

Taken from the album 'Bécs' released as LP / CD / Download

Fennesz 'The Liar' (eMEGO 165)

Download: http://www.xlr8r.com/mp3/2014/03/apeiron

Download

Jon Porras - Apeiron

Final 15 - A Ghostly 15 Playlist Curated by Michael Cina

"Anyone that knows me, knows that my main passion is music. I spend all day listening to music at work and my vinyl collection of 16k pieces greets me when I get home. I knew about Ghostly International before they contacted me in the early 2000’s and we would write off and on. They used to send me big packages of white labeled vinyl, it was decadent.

Late 2007 I got a call from Ghostly asking if I was up for designing a new single for Dabrye. It was a dream come true and I feel like I found a friend who really understood me. I have had the distinct privilege to design over 100 covers for Ghostly, and that is only the half of it.

When they asked me to do a compilation, I was all about it. I wanted to do three or more compilations because I wanted to segment it up into different sections (Ghostly, SMM and Spectral). It is impossible to reduce the entire label to 15 tracks. Ghostly is dynamic, they don’t fit one sound, genre or idea.

So I approached it as a mixtape of sorts. I tried to find a common thread that spoke to me and create a mood around that idea. Some of my favorite tracks are not on here. JDSY 'Horizon Line' makes my head spin. Choir of Young Believers 'Paralyse' takes me to another place. There are so many more.

What you are hearing some songs that have spoken to me over the years in a distinct way. I don’t feel like they are obvious choices but they all are nothing short of amazing. I hope this compilation helps you see a different side of one of the best labels to ever do it." - Michael Cina

Tim Hecker - Sundown6093

Taken from MUTUAL's debut EP 'A1017' (HH034)

Release date: March 9th 2015

Vinyl:
A1 - Surface Effects
B1 - Deflection
B2 - Isochronal

Digital: 
01. Surface Effects
02. Deflection
03. Isochronal 

Buy digital/vinyl 

MUTUAL - Surface Effects

PREMIERE > inverted-audio.com/premiere-illum-sphere-red-glass

Following up to his debut LP 'Ghosts Of Then And Now', released two years ago via shinobis' favourite imprint, Ryan Hunn returns with his second long-player 'Glass', said to move further in the direction hinted by his 'Spectre Vex' and 'Second Sight' twelves. Hunn explains: "I wanted to make an album very different to the first, one with a different palette, pace and energy".

Glass

Illum Sphere - Red Glass [Ninja Tune]

Planetarium 12" EP out now on Smalltown Supersound w/Remixes by Gigi Masin.
smarturl.it/sts31612-retail

Safe

From : Gabriel Saloman ‘Movement Building Vol.3’ (SP085)
→ http://shelter-press.org/gabriel-saloman-movement-building-vol-3/

Shelter Press has made good on its promise to deliver the third and final volume of its series featuring Gabriel Saloman, released both on vinyl and collected with Movement Building Vol. I (2014) and Vol. II (2015) as a double CD. For fans of Saloman’s post-Yellow Swans work – an already dense catalog of darkly cinematic compositions mostly conceived as accompaniment to some of Vancouver’s edgier contemporary dance companies, Movement Building Vol. III is not only a much anticipated conclusion to this trilogy, it is the most fully realized album in years. Where as Movement Building Vol. I & II acted primarily as documentation of time-based artworks, Movement Building Vol. III offers a more coherent and narratively rich album that will appeal to admirers of Soldier’s Requiem (Miasmah, 2013).

Listeners will recognize the emotive bowed strings, militant percussion and searing guitar eruptions that evoked memory and trauma in that previous album. Joining this pallet are other familiar Saloman sounds: shoegaze washes of distorted guitar, minimalist piano attacks, melancholic appregiated melodies, and a patina of harsh noise. Added to this is a more 21st Century approach to drums and bass, perhaps an effect of his collaborations with producer Michael Red in their dub-ambient project Chambers.

Saloman’s music has never sat comfortably in any genre, sharing with a select cohort of other artists (Stephen O’Malley, Lawrence English, Grouper, Kreng, Tim Hecker, among others) an ambiguous position between “modern classical”, “electronic music”, and the more outer limits of metal. Movement Building Vol. III doesn’t clarify as much as it expands Saloman’s oeuvre further into an idiosyncratic musical no-man’s land that fails to be faithful to any popular musical trend – contemporary, retro or futurist.

Movement Building Vol. III’s themes are taken from the dance it was composed for, 2015’s What Belongs To You, created by longtime collaborator Vanessa Goodman (Adhere, Soldier’s Requiem). That work sent its dancers through a physical journey exploring the needs of the body, for shelter, for love and for self-actualization, roughly aligned to Abraham Maslow’s “hierarchy of needs”. The resulting album seems to achingly soundtrack the struggle for survival, not simply for bare life but for something greater and more transcendent that would make survival have meaning. It holds dread and hope in equal parts, never quite giving away the end of the story. Though this record was recorded two years ago Movement Building Vol. III could be the perfect album for our current era of civilizational near-collapse, whether at the hands of maniacal politicians, the slow burn of the Anthropocene or the constant enclosure of the corporate driven, social media enabled surveillance state.

Movement Building Vol. III arrives both as a stand alone vinyl release, and as part of a collection of all three volumes packaged in one double CD. The collection of these works allows one to see clearly Saloman’s techniques and approaches to a relatively limited number of instruments – guitar, percussion, occasional piano and tape. Movement Building Vol. I is presented as one continuous piece, moving through an extended set of drone and loping drum play before climaxing in the kind of glorious guitar chording most often associated with My Bloody Valentine, GSYBE or Mono. Movement Building Vol. II explores various combinations of drum and drone, ASMR inducing high end clatter and the now infamous take on Miles Davis’ classic My Funny Valentine. 

Movement Building Vol. III is not only the final installment in Shelter Press’ series but also represents the culmination of a prolific period of creation that began with 2012’s Adhere.

Movement Building Vol. 3

GABRIEL SALOMAN 'What Belongs To Love' (SP085 / SHELTER PRESS)

Tashi Wada with Yoshi Wada and Friends - Fanfare

Learn more: https://smarturl.it/frkwys14

©2018 RVNG Intl. // www.igetrvng.com

FRKWYS Vol. 14 - Nue

Tashi Wada with Yoshi Wada and Friends - Fanfare

PREORDER/ https://shelterpress.bandcamp.com/album/the-flower-and-the-vessel-2

Félicia Atkinson  'The Flower & The Vessel '
Shelter Press / SP110

French poet and ASMR auteur Félicia Atkinson has frequently fixated on the elusive interwoven relationship between microcosms and macrocosms – how even the quietest creative act ripples outward in unforeseen ways, a whisper with no fixed meaning. Her latest work pursues this notion in a more literal and lasting fashion, as it was crafted while pregnant on tour, in impersonal hotel rooms in foreign cities. She describes it as “a record not about being pregnant but a record made with pregnancy.” Each day and night, finding herself far from home, she asked herself “What am I doing here? How can I connect myself to the world?” The answer gradually revealed itself: “With small gestures: recording my voice, recording birds, a simple melody.”

In truth there is nothing simple about The Flower & The Vessel. The album’s 11 songs span a vast pantheon of whispering textures, opaque moods, and surreal spoken word, leading the listener through a mirrored hall of beguiling mirages. Atkinson cites a trio of French classical compositions from her childhood as formative influences on this particular collection: Maurice Ravel’s “L'enfant et les sortilèges” (“a scary opera for kids”), Debussy’s “La Mer” (for its union of narration and music) and Erik Satie’s “Gymnopédies” (as an exercise in negative space, irony without cynicism, and “melody with doubt”). There’s certainly a shade of classicism woven within these tracks, however veiled, abstracted, or unorthodox. Melancholic piano motifs repeat then retreat into a radiant frost of shivering frequencies; processed voices recite cut-up poems and interviews over delay-refracted Rhodes and Wurlitzer; iPad gamelan patterns flutter from meditative to melancholic and back again, offset by pointillist patches of delicate software synesthesia.

Although much of Atkinson’s past discography is shaped by speech and the lyricism of language, The Flower & The Vessel ventures farther into silence, absence, and voiceless wilderness. Among her sources of inspiration were “women who wonder, dream, and create vacant spaces in their art,” as well as Ikebana flower arrangements, which reflect her own relationship with listening: “structure combined with everyday noises, selecting them to make a sparse music bouquet.” Field recordings from Tasmania and the Mojave Desert murmur beneath hushed reverberations of gong, vibraphone, marimba, softly processed into an elegant emptiness, alternately eerie and serene.
 
Her mode of minimalism has long been one of reduction, riddles, and curation, but here Atkinson’s synergy feels close to apotheosis, emotive but ambivalent, a ceremony of expectation and invisible forces. The 19-minute closing collaboration with SUNN O))) guitarist Stephen O’Malley, “Des Pierres,” is one of the album’s few pieces tracked in a proper studio (Music Unit in Montreuil, France) but it broods and burns with the same subliminal majesty as the rest of The Flower & The Vessel: an ember in amber, seeds planted in shifting sands. Atkinson’s voice flickers like a flame, framed by slabs of shadowy feedback. Her process may be personal is but its impact ripples to the edges of existence: “How does the act of creation connect us, not only to history, but to the cosmic? It’s a process of taking, and then giving back. It makes us belong to the world.”

The Flower and the Vessel

Shirley to Shirley

FELICIA ATKINSON — Shirley To Shirley (SP110)

From the EP 'Digital Kabar'
Release date : June 21th
Compilation link : https://idol.lnk.to/Digital_Kabar

A harbour for adventurous, resolutely independent music, InFiné is a unique platform nurturing artists with influences running the gamut from neoclassical to postrock, electronica to pop, along with hip hop and shoegaze, jazz and dubstep, all with dancefloor as their foundation and a refusal to pigeonhole themselves.

Label : @soundcloud.com/infine-music
www.facebook.com/infinefanpage
www.infine-music.com/

Digital Kabar

Premiere: L'abuse - Ré-Union [InFiné]

Ghostly International and Spectral Sound. Of Art & Artifice since 1999.

Tim Hecker - Sundown6093

ghostly

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