insomnia

Mercatante is a New York-based electronic musician with self-releases dating back to 2007, appearing on a handful of boutique and independent labels. For his debut appearance on ASIP, Mercatante takes the concept of Ø [a symbol used in mathematics for an empty set or null] and explores the possibilities of starting out from nothing, "specifically, trying to understand how the idea of ‘nothing’ fits into the realm of sound, and at the same time, exist in a world of influence at every turn." This is an album that could easily appear on the celebrated raster label or get a head nod from the Alva Noto crowd. Across the ten surgically precise pieces, Mercante explores the concepts of meticulously placed sonic elements, investigating void and all that negative space. It is at once minimal in its execution and maximal in the presented sound, occupying frequencies evoked by glitchy IDM [is that still a used term?], post-techno and reductionist soundtracks.

"Beginning with open spaces and allowing sonic textures to live and evolve past where you may expect, Ø allows the space between notes to become equally as important as the notes themselves."

Love Of Lies

TRACK PREMIERE : Salvatore Mercatante - Love Of Lies

Album: Nº1 DVD and Remixes
Label: Self - Release

and instantly take effect (loscil remix)

My awesome brother Spence, aka Nightly Closures, known for his deep house DJ'ing, re-produced the alternative mix on this track - hope you enjoy

Just A Little Bit Closer (Alternative Mix)

Gentileschi

They say you never go back to the same place. I say you also never return to the same song. And if you do, you end up finding another shadow among jasmine. That’s what happens in Espiral: it starts in a garden where memory trips over your name and ends with an invisible embrace that leaves you shaking, both warm and cold at the same time.

There’s a place in Entre tus sombras y jazmín where everything is shy and sweet: time falls like dry leaves on an old tablecloth, the sun hides behind your eyes, and me, not sure if I’m singing or whispering, I keep my name safe in your garden. And there I stay, because leaving would mean getting lost.

Then, in Te hablé en silencio, one realizes talking doesn’t help. Better to whisper, stay in the mist, and make yourself invisible so you get seen anyway. It’s a cheap magic trick: being flower, seed, and spring without anyone noticing. Sad part: the other side has forgotten; beautiful part: you still wait, because waiting is what you do, even if it hurts, even if it’s ridiculous.

Next comes Lo que elegí, which has nothing heroic about it: walking through a desert is boring, dirty, and slow, and the stones don’t applaud. One wonders if someone is watching from afar —sure they are— and if they’re throwing shadows at you. Doesn’t matter. What matters is knowing that time drags everything, even your dumbest decisions, and that you leave traces without asking permission.

Then the coyote appears in Danza del coyote, a lovable son of a gun: breaks the order, makes you laugh, screams, and makes you realize that peace isn’t sleeping, it’s dancing over embers without burning too badly. A blind master of ceremonies: breaks you, rebuilds you, and makes you sing with throat and heart, even if you don’t know what you’re saying.

Then comes Lógica de Sol, and logic doesn’t matter. The sun doesn’t charge, doesn’t demand, doesn’t lie. You sing, you dance, you burn fears and applaud the tenderness whispering everywhere. No altars, no dictators; just a little light scratching your back, telling you everything’s fine, even if it’s not.

La Bicicleta, the bycicle: when you don’t know if you’re coming or going, but you pedal, and the world spins with you. Your body moves, wind slaps your face, and suddenly everything seems simple. Simple and extraordinary, like life itself.

Círculo Polar is the ending that feels like a beginning: cold, crystalline, icy blue. The soul purifies, sees its reflection in the ice. Contemplation calms the tremors, and the mind plunges into the quiet that precedes the end of the cycle.

Finally, Abrazo, the instrumental, closes the journey with a silent gesture: an embrace containing everything lived. No words, just resonance. Everything condenses here: memory, pain, light, shadow. The spiral closes, yet keeps spinning, because experiencing time is infinite.

In the end, Espiral isn’t an album. It’s a diary of inner adventures where you laugh, fall, get up, and ask yourself why the hell we keep listening to songs that make us tremble while time keeps falling like dry leaves.

Abrazo

Music from the forthcoming EP by Luke Abbott and Jack Wyllie of Portico. 

Released via Buffalo Temple (BFFT003) on 25th September available on 12" vinyl and digitally.

Xantako

TOMAGA "Memory In Vivo Exposure" (12"/DL).
HITD 037
Release date: 8th December 2017

All tracks composed, perfomed & recorded by TOMAGA
Mastering by Mike Grinser @ D&M, Berlin
Original cover photograph by David Child

Label, orders: www.handsinthedarkrecords.com

TOMAGA - Memory In Vivo Exposure (Parts 1 & 2)

Track 1 from Lea Bertucci 'Metal Aether' [NNA108]
Available February 9th, 2018 on Vinyl, CD & Digital formats.
Order: http://nnatapes.com/available-releases/lea-bertucci-metal-aether

Metal Aether

Lea Bertucci "Patterns For Alto"

Moon Wheel — རྡོ་རྗེ་རྣལ་འབྱོར་མ་

Midori Hirano - Close to Life
From the album “Mirrors in Mirrors”

Release date: 5th March, 2019
Pre-order “Mirrors in Mirrors” here: https://daisart.bandcamp.com
© Daisart / daisart.info

From the liner notes:

If you stand between two mirrors facing each other, you’re faced with a curious and unique visual sensation – endlessly repeating reflections bounce off one another into an infinite, spiralling prism. Any movement from your vantage point derails the point of focus, and transforms the illusion in real-time before your eyes. Light bends, and with it, colours slip in and out of dominance, in an
Escherism of endless space, despite no change to the dimensions you inhabit in that ever so concrete space between two mirrors.

Midori Hirano speaks of “waning lights” and “edges blending into fog” as some of the sensory indicators inspiring Mirrors In Mirrors – her debut on Daisart – and these Impressionistic sentiments are deeply imbued within Hirano’s delicate, restrained compositions. The hallmarks of modern classical, electronica and ambient are adopted as an assemblage to explore nuanced tones and techniques less dictated by those stylistic underpinnings, perhaps somewhere hovering between – but never too far away – keenly aware of form and
function.

An emphasis upon the piano is an immediate point of reference for placing Hirano’s work within a broader context, but important to point out is the subtle and careful use of synthesisers and effects processing throughout the record – sometimes providing a more detailed background terrain, sometimes taking centre stage. Whichever instrument she turns her hands to, Hirano has crafted a record with enough dedicated focus and space to allow the listener to immerse oneself in her devised temporal expanse, an Impressionistic liminal space of Mirrors in Mirrors.


Written, produced, recorded and mixed by Midori Hirano in Berlin, Germany 2017-18. 
Mastered by Sean McCann of Recital Program.



“Mirrors in Mirrors” comes in a first edition of 200 x 12inch 145gm black vinyl (incl. download) with Pantone printed inner and outer
sleeves designed by Jeroen Wille and Rudd Ruttens [ruttens-wille].

Midori Hirano - Close To Life

From "Kläppen" on Malmö Inre.
https://www.malmoinre.se/product/preorder-golden-ivy-klappen-lp

Kont

http://blowinguptheworkshop.com/project/visiblecloaks

Eastern-European folk music and its modern refractions - Lithuania, Estonia, Georgia, Czech Republic, former Yugoslavia, Albania, Hungary.

- Liaudies Muzikos Teatro Trupė - Intakas
- Hamlet Gonashvili - Tsintskaro
- Ženklo Grupė - Ratas
- Irena & Vojtěch Havlovi - Jako Motýl Na Tvé Dlani
- Gjirokastra Folk Festival, Albania, 1988 (Artist Unknown) - Melodi Me Fyej, Dyjare, Zile E Imitues
- Folk Ensemble of Vilnius State University - Let the Hops Grow (Spring Sutartinė)
- Gordian Knot Company - Parijs
- Jieva Mockienė - Plauke pylele
- István Mártha - Templom (ft. Márta Sebestyén)
- Capella Antiqua E Moderna - Marnost Křídel
- Mtiebi Choir - Zamtaria
- Boris Kovač - Folk Prelude: Love Sick
- Miina Lambot & Anna Paalberg - Noorik lahkub isakodunt
- Oldřich Janota - Obrácený Vodotrysk
- Vízöntő - Amerikás Dal
- Veronika Povilionienė ir Petras Vyšniauskas - Vidury Laukų Grūšelė Auga
- Lola V. Stain - Rani Jadi
- Jievaras - Rimo Rimo, Tūtoj
- Dhurim Ballo, Sotir Ballo, Nazo Celaj, Trifon Golemi, Hyso Xhaferraj - We Live Among Strangers (text: Yona Friedman)
- Evaldas Vyčinas & Daiva Račiūnaitė - Ei, smūtna liūdna mano širdelė
- Kiri Uu - Ilus Neiu Kiigel
- Dezső Tandori, Cserepes - Miért Csináljuk
- Argo - Daina I

Blowing Up The Workshop

109 ◆ Visible Cloaks

Rinse France Podcast

Download

Bamboo Shows avec Andria & HLM38 - 09 Juin 2020

Behold the lights of carnival samsara!
The heart strays in diverse abundance,
Feedbacking into abstraction...
...stranded in remote isolation.
A rising storm whirls, a friend and a teacher.
Love observes with silent resilience...
...allow the dust to settle,
Fierce grace, clear confusion,
A pillow, a candle,
home within
a storm.

tracklist:

Anwesend Spring Morning (field recording)
Beautiful Chorus - Faith's Hymn
Monireh - Baha'i prayer 
Wanderwelle - Ancestral Guidance
Sounds of Isha - Mage Ubha Mangesh - An Ode to Shiva 
Michael Stearns - Monk with a bell,
Hamlet Gonashvili - Chela
Luis Paniagua - Mientras Vivas Brilla
Bobby Mcferrin - Grace
Tetê Espíndola - Ararinha Azul
Nicola Cruz - Okami (Peter Power Remix)
Lewis Snowfield - Moonlight Point
øjeRum - In The Fever Sun Of Winter Nights
Ramses - Earth People
Burt Bacharach - What The World Needs Now Is Love
Bjork - All Is Full Of Love

⬇ Download

home within a storm - Mix

kӣr (@k6r) is the solo production epithet of Bane Jovančević, resident live artist and program manager of Belgrade’s club Drug§tore. His first release Imrali was on Creme Organization, second one Mramorje was released on Yerevan Tapes and third Balčak on Don't DJ's label Disk. By combining traditional and experimental influences in electro-acoustic music, Kӣr creates the sound in which drone-navigated post- industrial logos transgresses into a tribal mythos, in search for the traces of future. The clash of synths and acoustics invoke an audio landscape of Byzantine sacral traditions and Balkan folklore rhythms. Kӣr’s symbolic language (Dimiskija, Imrali, Mramorje, Balčak) layers it up with an ancient temporality and its logic of being that is not past but our own. The basic concept is to challenge conventional and predominant rhythmic structures in music by juxtaposing traditional rhythms with contemporary electronic sound design. The visual imaginary invoked in the sound – that of a forest air, a river, a hum of birds – delivered through the ruthlessness of the machine, insist on an active listening, to all the otherworldly of this world. It is music that hypnotizes, contemplates and raves. And it always dances.
Last two years were very busy, with Electronic Studio Radio Belgrade residency, then composing for a theater play "Stvaranje Čoveka" at one of the leading Serbian theaters "Atelje 212", and with residency in Reykjavik, working on music for conceptual performance "Hai Maei" with local artist Borghildur Indriðadóttir. Next release “Kosidba” is scheduled for spring 2021. on Belgian label “Esitu Records”

Scene city podcast 11 — Kӣr

Tyvetyvemix

"Kammarn" out on Malmö Inre 19 maj. 

1/3 Fasaan Recordings

ivarlantz@gmail.com

Kont

Golden Ivy

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