Petite Mor+++

Lend Me Your Radio - Mar 21

Current Ambient I keep on coming back to

Electroacoustic Composition

0000

German Vaagner label and Bulgarian collective Amek team up for "An Embrace EP". Monument premieres Evitceles' and Fortunes Brine's track "Fallow" from the V/A release, that will be out on March 26th.

@vaagner
@amekcollective

Pre-order

MNMT Premiere: Evitceles & Fortunes Brine – Fallow

Marco Lucchi : piano
M.Nomized : electronics
James Hill : trumpet

for "piano patterns" vol. 2 https://soundcloud.com/marcolucchi/sets/piano-patterns-vol-2

marzo 2021

Marco Lucchi, M.Nomized & James Hill - #9

DAVID GRANSTRÖM, Empty Room - LP

Release date - April 2th 2021
Catalogue nr. - HG2102
Format - Vinyl / digital
Hallow Ground

hallowground.bandcamp.com

Tracklist:
1) Obsidian 09:22
2) Aeon 10:56
3) Sapphire Visions 04:50
4) Occultations 10:08
5) Transience 04:45

Credits:
All tracks composed, recorded, performed and mixed by David Granström 
Mastered by Giuseppe Ielasi
Photography by Aron Mattsson
Cover design by Greenpointless

///
On »Empty Room,« David Granström works with slow transformations, cyclical and isometric patterns as well as just intonation as a way to create harmonic stability, allowing his long-form pieces to develop their own unique temporal and spatial qualities. A prolific figure in Stockholm’s experimental drone scene and a collaborator of Hallow Ground label mates Maria W Horn and Mats Erlandsson, the Swedish composer navigates through moments of quietude and crushing volume on these five tracks. Sonically and atmospherically, the pieces on »Empty Room« simultaneously call to mind Fennesz’s most meditative work or the physical experience of seeing Sunn O))) live, blending guitar recordings and synthesised sounds with forceful effects similar to those of Mario Díaz de Leon’s Oneirogen project while still being as moving and delicate as Alessandro Cortini’s solo work. The album is marked by melodies and harmonies that are the product of a peculiar working process that turned the composer into an intent listener collaborating with, rather than simply using technology. 

Having been invited by the self-organising artist group The Non Existent Center for a residency to Ställbergs Gruva, a defunct iron ore mine in Sweden’s Bergslagen region, Granström took his guitar as a starting point for his compositional work that heavily relies on real-time sound synthesis. »I seldomly use the instrument as a sound source in the final compositions and rather transcribe and orchestrate the harmonic structures using sound synthesis,« he explains. »On this album however, I chose to include the actual recordings of the guitar in order to extend the spectra between non-referential synthetic sounds and embodied referential sounds.« Working with precise tunings in order to blend the timbre of the synthesis with the harmonic structures of the composition, he created composite sound objects in which the harmonic elements blend into each other. 

Through the re-amplification of synthetic musical materials from the inside of the abandoned mine, his original compositions were enriched with site-specific sound qualities before he further refined them in a singular working process. Granström works with algorithmic and generative processes, using the SuperCollider programming environment and thus blurring the lines between generative and creative forms of composition. »One of the things that I like about this way of working is that it creates a distance between myself as a composer and myself as a listener of the music that is produced entirely by the system,« he says. Granström’s technologically aided eschewing of the conventions of composing doesn’t make the end result any less personal, however. By listening again and again to the newly generated output, Granström simply took on a different role in the process of finalising the music, with the technology and the sounds becoming his co-authors. 

By creating systems that generate music, he gains a new perspective on (musical) time, says Granström. »There doesn't have to be a fixed length to the music at all,« he explains. »And by writing music with this in mind, my focus tends to shift towards writing cyclical structures that gradually change and transform over time.« Simple parts, in other words, that emerge as the five complex wholes that form »Empty Room,« a record that itself seems to take on different forms with every new listen.

DAVID GRANSTRÖM - Occultations (HG2102)

This two-hour mixtape by Taylor Bratches—not only her first for enmossed, but her first physical release period—is a creature that slowly but radically evolves. Sometimes it’s left-field spa, others it’s more 7 a.m. dancefloor. The folkish string arrangements and big-room shoegaze make this tape an expansive and daring foray, with few pauses and natural transitions from one idea to the next. Optimistic and buoyant no matter the genre, Bratches explores the range of her musical interests with a lightness that also floats the listener.

This doesn’t mean there aren’t heavier moments, where bass is employed to move bodies. Ambient pads get laced with knotty breakbeats, while nearly everything is drenched in finely tuned reverbs. Bratches’ poetry and dance practices inform Lift & Kismet, making physical impressions on its hybridic sound. Her formal arts education and work as a music journalist may have something to do with the scope of her vision, but it’s Bratches’ emotional intuition that guides this infectiously positive, cathartic release.

---

Taylor Bratches (she/they) seeks to explore and transmit an emotional experience through sound. A lifelong poet and dancer, her relationship to sound is intimate and ever-evolving. Her sets aim to fuse genres and find hybrid spaces. She aims to move people physically and spiritually, creating a dance floor experience that is both terrestrial and extraterrestrial. Sharing music comes from a need to express and experience emotional catharsis, and to connect with the body. 

releases April 2, 2021

artwork :: Joe Bastardo

all proceeds to Chab Dai - chabdai.org

purchase :: https://enmossed.bandcamp.com/album/lift-kismet

Taylor Bratches -  Lift & Kismet [Side A Excerpt] (ENMX13)

Fold

"Make the Secrets Produtive" is taken from "Fold Unfold", Katrine Grarup Elbo´s debut album. Handmade LP and CD editions available April, 2021.

Fold Unfold

Katrine Grarup Elbo - Make the Secrets Productive

BlackNoodlesPCR

Off-centre rhythms, muted electronics & slick modern compositions in a monthly missive from the Bristolian psych-rock jammers... 
https://www.nts.live/shows/tara-clerkin-trio/episodes/tara-clerkin-trio-16th-september-2023

Tara Clerkin Trio 160923

Gruth is set to release his 3rd solo album, this time via Temporize. Scenes From  was written between 2018 and 2021 in Brazil and follows Gruth’s debut album Laments released in 2018, and his second album Somnum Exterreri.. Written as a two-act play, 'Act I, Scene I - Wake In Fright' is the opening track and captures Gruth's light, euphoric sound that perfectly transitions from the final moments of Somnum Exterreri. 


words: https://www.asifnoway.com/premiere-gruth-act-i-scene-i-wake-in-fright-temporize

Scenes From

Premiere: Gruth - Act I Scene I; Wake in Fright (Temporize)

Valerio Tricoli — Clonic Earth
Format: 2xLP / DIGITAL
Cat.No: PAN 71
Release Date: 24th June 2016
http://p-a-n.org/

The experimental Italian composer returns to PAN with a new LP, titled 'Clonic Earth'. His ongoing output for the label has long-presented his electroacoustic sound compositions where since the mid-'00s, he has utilized analogue live sampling and real-time editing of field and studio recordings by means of manipulation of 1/4 inch tape.

Asides from being a founding member of the Italian avant-rock group 3/4HadBeenEliminated, he has worked extensively with various musicians, choreographers and multimedia artists including Thomas Ankersmit, Antoine Chessex, Werner Dafeldecker, Anthony Pateras, and Robert Piotrowicz.
 
His studio compositions, documented on few records, often explore themes of the internal - represented both by the psychological and the physical - and of the occult, which with the use of spoken text makes them often deeply existential works, self-investigations of the psychological, emotional and irrational horror within.

The new record, 'Clonic Earth' is a perturbing, compelling and eventually mind-expanding work, marked by compositional strategies of exploded narratives, psychological insight and oracular literary references, where questions about the boundaries of spatial perception in the decoding processes of acousmatic music are overturned into existential, metaphysical questions. 

Tricoli's allegorical and philosophical universe takes the form of an unhinged mind's landscape swarming with estranged sound objects, and sometimes reminiscent, in the complexity of details and surrealistic effects, of Hieronymus Bosch’s larger paintings. Compared to his previous works, the content of 'Clonic Earth' explores more synthesized and heavily processed sounds, especially vocals, often appearing in the form of a religious, electrified chanting. 

The record is described by its author as a natural consequence of the internal collapse depicted in his previous record, 'Miseri Lares': "As if all the debris left inside my loudspeakers have been ignited to expand into the ether, to find a justification at the principle of Chaos, or Cosmos alike." 

This movement is expressed by references to the theme of fire as original matter in the Chaldean Oracles which, together with the later work of Philip K. Dick, are the main sources for the vocal/text elements of the composition. Fire, intended as the convulsive principle of existence, but also an ontologically terminal element - hence a representation of the infinite decay and a mean of communication with the otherworldly - serves the author a metaphor for the acousmatic listening experience itself: a borderline perception of sounds eternally fixed in their spasmodic disappearance, which could eventually drag us into a different layer of reality, drastically changing, subverting, or expanding the space in which they are diffused. A ritual, somehow, which may link the listener and the perceptive space that he inhabits with whatever lies beyond the loudspeakers, beyond the vibrating surface of the world.

Valerio Tricoli — I. The Hallowed Receiver (PAN 71)

Track A1 from Tsembla 'The Hole In The Landscape' [NNA110]
Available May 25th, 2018 on Limited Edition Vinyl & Digital formats.
http://nnatapes.com

The Hole In The Landscape

Tsembla "Gravitating Bones"

Taken from the album 'Proxy States' released as CD, Cassette and Download

Jung An Tagen 'Instructions for a Sound Machine / Wreath Products (F#, G#)(EMEGO 263)

MARIA W HORN, Epistasis, LP

Release date - Oct 25th 2019 
Catalogue nr. - HG1904
Format - Vinyl/digital

https://hallowground.bandcamp.com

Tracklist:
A1) Interlocked Cycles I 	(10:45)
A2) Epistasis 			(09:31)
B1) Konvektion 			(13:16)
B2) Interlocked Cycles II 	(09:46)

Credits:
All music composed, recorded and mixed by Maria W Horn
Linnea Hällqvist - violin
Knapp Brita Pettersson - violin
Maria Jonsson - viola
Natalia Goldmann - cello
Johanna Niederbacher - cello
Mats Erlandsson - electric guitar
David Granström - electric guitar
Johannes Landgren - organ 
Fredrik Lundqvist - organ

Mastering by Lawrence English
Design by Ruth Stofer

Promotion by Dense Promotion, ed@dense.de 
Distribution by Cargo Records and a-Musik
Released by Hallow Ground

///
Following the success of her 2018 solo debut album »Kontrapoetik,« the Swedish composer Maria W Horn returns with »Epistasis,« her most ambitious record to date. The title track, »Konvektion« and the two parts of »Interlocked Cycles« see the XKatedral co-founder explore radical approaches to composition that combine avantgarde methods with electronic means. While »Kontrapoetik« highlighted Horn’s strength as a conceptual and political artist, »Epistasis« is to be understood as an advanced statement by a forward-thinking composer who throughout four pieces channels her influences, ranging from black metal to minimal music, through state-of-the-art technology. 
Originally composed as an audiovisual piece for synchronised multichannel sound and lights and premiered in 2018 at the Royal College of Music in Stockholm, »Interlocked Cycles« is a series of pieces exploring a gradual increase in tempo and density using various instruments. It was written to be performed by a computer-controlled upright Disklavier piano while the electronic part was generated within the Supercollider framework using phase modulation synthesis. Navigating between acoustic and electronic sounds, the two parts of »Interlocked Cycles« create a frame for the album by respectively serving as an introduction and coda to Horn’s musical exploration of the notions of authenticity and artificiality.
The nine and a half minute long title track was composed for an eight-voice double string quartet and draws on evolving progressions in F minor that were inspired by the sound and harmonic structures of early nineties doom and black metal music. During the performance of »Epistasis,« which was commissioned by Konstmusiksystrar and premiered by Malvakvartetten at Konserthuset in Stockholm 2018, four parts are played by the string quartet and four parts are played back electronically. Using various amplification techniques, the spectral characteristics of the string instruments are enhanced and distorted and were later on complemented by feedbacking electric guitar overdubs while mixing the piece. The result are densely layered drones that are most unsettling when they are the quietest and reveal their anthemic qualities in their most forceful moments.
The structure of »Konvektion« however takes its cues from a very different field of the musical world. The composition progresses in a way that was inspired by Arvo Pärt’s »Tintinnabuli« technique, where step-by-step diatonic movement interplays with triads to form a complex harmonic function that is still rooted in tonality. Based around four-note chords articulated as dyads and performed by two organists on the same instrument, the duration of each dyad is measured by the individual breaths of the two performers while pitches are predetermined in the score of the piece. The alternating breathing cycles of the performers slowly move the piece forward at a glacial pace. Simultaneously, an electronic part composed of interference tones creating high and low frequency beating patterns gradually unfolds, making »Konvektion« an exercise in minimalism that combines the subtle gravity of Phill Niblock’s work with the visceral theatrality of Anna von Hausswolff’s organ pieces.

-

Epistasis

MARIA W HORN - Epistasis (HG1904)

‘Stretches’ is specially composed in collaboration with Swansea Laptop Orchestra (Jenn Kirby and Simon Kilshaw) in Ty Cerdd’s CoDI ELECTRONIC as part of Bangor Music Festival 2019. The composition aims to explore a delicate soundworld of white noise with multiple band-pass filters controlled by Gametrak controllers and Max/MSP. Two performers gradually layer individual filtered noise on top of each other to form sounds with various spectral spaces which later evolve into more distinct timbres. Sound masses later travel all over the performance space via quadrophonic speakers and fully embrace the audience with rich electroacoustic sonorities that eventually fade into a single sustained band of white noise. 

The premiere was performed by Jenn Kirby and Simon Kilshaw (Swansea Laptop Orchestra) at Pontio Arts and Innovation Centre, Bangor University in Bangor, Wales on 8 February 2019 in Bangor Music Festival 2019.

This version was recorded by Jerry Yue Zhuo and Poumpak Charuprakorn in the Postgraduate Studio, Cardiff University. Although the composition is for quadrophonic speakers, this recording has been adapted for a standard stereo setup.

Stretches

rivulets rivets ribbit ribbits

This episode's guest is Akrüül (@Akrueuel). The face behind Vienna's Verein Fortuna - the - Bar - not Bar - Gallery - not Gallery with a  tinge of DIY Jugenzentrum - also released this year's seminal 'Goldrausch - der Wien Sampler' on his own label @Goldgelbrecords. The compilation is a strong reflection of what for a small but sustainable community defines as the city's sound of our time far away from big room clubs and Boiler Room hit lists. The second half of the mix comes from @kaxkahl

Hip Therapy

Hip Therapy #22 w/ Akrüül and Kax Mahl

On December 18th I was tested positive to Covid 19 in Belgium. I came back in a car to Berlin on the second day and went into self-isolation in a hotel room for ten days. This track was recorded on the 8th day of this reclusion (which also happens to be Christmas day) and it expresses my state of mind then.
The image is a self portrait with the same title, drawn the night before.

This track is part of the Corona Diaries, a project initiated on march 13 2020 and that includes drawings, music, texts and videos.
Link to the diaries: kerbajdiaries.com

Like A Bird In A Cage

From "And Where Are You Really From?". Out March 19th, 2021

Simon McCorry - Strange Charm

From Panabrite's Sub-Aquatic Meditation Vol.2, out now on cassette and digital.
https://muzaneditions.bandcamp.com/album/sub-aquatic-meditation-vol-2

Panabrite - Euphotic

From Atlas der Gedanken, available now on cassette tape and digital.
https://muzaneditions.bandcamp.com/album/atlas-der-gedanken

Mareena & JakoJako - Phantasma

HALLOW GROUND 
is a platform for Music and Art that leads to Visions.

It was established in Lucerne/Switzerland by a group of individualists, idealists and first of all artists. We act as publishers, hosts and performers.

www.hallowground.com