the Mind series is dedicated to ambient with an eerie perfume

Mind 4

ice is dripping. candles are out. the foreplay over.

Our selection of lustworks are anticipating your next move…

INDEXOXO<3

A third volume of nocturnes devoted to whetting all thirsts -
a salve to soothe all burns of desire.
For where there once was love,
ever shall its void fill with longing.

@user-951049725-782254964 @ikezwanikken @kingsofty @djbirdbath @vasesound @mikemidnight @raw_silk @kind_tree @milliamusic @rreinartz @connaharaway @cybermission @pppainterrr @murphyet

INDEXOXO<3

Downstairs People - Sabotage

If there ever was a monicker apt for describing an artist’s behavior, that is Ghost Lemurs. Manifesting spottily in compilations and limited edition tapes, then returning to the shadows without much fanfare, the project has indeed demonstrated a ghostly behavior and a nature as puzzling as the animal it takes its name from. Wombs And Alien Spirits represents now their most public outing, one in which the duo of visual artist / producer Kareem Lofty and Daniele Guerrini (better known as Heith and as Haunter’s co-founder) are happy to showcase all the discoveries in a process of musical and spiritual research begun in 2019.
Described by the artists themselves as an experiment in mediterranean psi-trance, the album makes use of an incredibly diverse number of traditions, sonic sources and techniques of musical experimentation, keeping its psychedelic intentions central to the whole creative endeavor. Moments of meditative relaxation are brought to unsettling new levels by cavernous basses and spaced out drones, while tight polyrhythms bring beautiful granular melodies to a sidereal ceremonial dance.
As beautiful and captivating as it is, Wombs And Alien Spirits remains as chimeric and unrestrained as any previous effort by the two artists. It’s a type of folk music devoid of a specific homeland, but resulting from the authors’ heritages, simultaneously divided and united by the mediterranean sea, injected with all the trajectories of their personal journeys. It ends up sounding profoundly human and uncannily inhuman, tapping into the undiscovered alien element at the beginning of the experience of life.

Music by Ghost Lemurs
Mix by Heith
Master by Tapewave
Artwork by Katja Novitskova
Layout by Nicola Tirabasso

Filter Feeders

Broadcasted live at Radio Tempo Não Pára (04.05.2024)

Artist: @onlyvampi

Samuel Barbier-Ficat @ Radio TNP 04.05.2024

Clio

Keru Not Ever - Mezzanine
Label: Infinite Machine
CAT#: IM115
Format: Digital
Release Date: December 20th

Words by Keru Not Ever.

Mezzanine is an album of post-classical music. The twelve pieces that make it up are attempts to take the raw materials of instrumental music, dip them in mud, and turn them into shimmering confetti. Flutes, violins, clarinets, voices, cellos, piano, bass—these elements are all there, woven together through a mixture of hyper-sampling and recording, creating a chamber music without walls, without windows, suspended in stagnant air and multicolored dust. The conductor lies in bed, sheets pulled up to his shoulders.

Modeled on human breath, the pieces highlight the phenomena of loops and feedback, as though each time a theme is voiced, it must be repeated, insisted upon, until something else — a counter-melody — emerges to disrupt it. This is clear from the very first piece, Requiem Caesura, which functions like the tuning of a small orchestra, seemingly deaf to itself. Then come, to name just a few, the shimmering wind arrangements of Ghisolabella, the pulsing glissandi of the solo bass in Mezzanine, and, finally, the epilogue, Harmonies de la brûlure, a tableau of slow-moving harmonic ashes.

This album took a long time to create, the time it took to free myself from Tereza and The Wind Of? — old, forgotten music. Whether that time was worth it, that is, the doubt in which every melody is born, I can’t say. What composes is always next to myself, an extimacy. But it's a leap in time, an interval of a few years, a leap based on certain musical ruins, anonymous shreds twisted in the throes of a pandemic, in the love and joys, the sudden lights striking the blind spots of a body. These are companion pieces produced from the detritus of history. They hold out a cold hand to those who lend an ear.

Le Poumon

skating 2.1 gp1 20 bpm take 1 72925

Anti-infinity

i will always exist ⋆

HG1801 - Hallowground.com
Buy the vinyl or digital album here: bit.ly/2xwBugg
Distributed by A-Musik and Cargo Rec.

BUY VINYL / DIGITAL

This Is Where - 1-6:0

Premiere performance of "clouds" by the Birch Creek Festival Orchestra (Door County, Wisconsin), Brian Groner, conductor in 1996.

clouds (1996)

Das Licht auf der anderen Seite

it came like snow
we had no warning

didn’t know what it was
they told us to go inside.

Don’t stand in the snow

we thought we were safe
don’t sneeze
don’t hang out on your balcony
stop cheering
stop reading the news
don’t be frightened
and wake up slowly


we had no warning

I thought we should stop shaking
hands but they said that didn’t 
matter anymore

this sickness will come and go
like a storm
it would come and it would go
like a storm.

very quickly
very devastating
but we must put this quickly behind
us

it didn’t go like a storm

we woke up us
i could feel something hard on my cheek
i broke out in scales

my lover 
he had feathers on his tongue
and we knew
this sickness was not a storm

it was here for us.
it was here within us
it would stay within us
and change us forever.

my one eye grew larger
and i began to feel it leave my body
it was leaving me like a child leaving 
its parent
coming back, nervous, it would tell me what it saw
and it told me the world had changed
nothing was recognizable
the cities were emptied
 people were disfigured
and some of them could fly like angels
 
I couldn’t.
I was just locked in my home
afraid of more change
more things leaving me
until i was nothing more than a cage of bones.

I wanted to live now. 
I wanted to be the last person standing
even if I was not quite human anymore.

i wanted to be the historian
to see the beginning to see the end 
and what came after

to do this I had to live 
and to live i had to change
so I gave in I infected myself further
to quicken changes

but each change comes upon you differently
it is unique to the person

not everyone has wings inside them
you understand
some of us were meant to fly
some of us were meant to dig
and some of us were meant to 
eat ourselves
from inside.
many died like this:
oysters in an oyster shell.

And so it happened
in an way I never expected.

I grew long and hollowed
I became a very large worm
amphibious
and I couldn’t bear the sun
so I dug down
and I rested

I waited
like a lungfish
for everything to pass
for it to finish
to slow down
for the world to heal again
so that I might come up again
and write a history of everything
 that has come to pass

so I am waiting for the  end to end 
so that we can begin again

i wish I wish I had wings

We Had No Warning by Enceladus ReX  ft. lemonade

Performed & Recorded by Matteo Mariano in 2004. http://macrogramma.com
Original cover art by Pietro Puccio (2019). http://www.pietropuccio.it

All that I did not understand, Story of an afternoon and Under Antonio Ceriani / Tutto quello che non ho capito, Storia di un pomeriggio e Sotto Antonio Ceriani

These three songs are constructed in a very similar way, practically recording short guitar patterns and creating loops by re-editing them and processing them with the same outboard. They were also the easiest tracks of the selection to restore as they were kept on multi-track format. All three tracks are directly inspired by Pietro Puccio's paintings. Between the distressing expectation of Under Antonio Ceriani and the lazy and lukewarm pace of the Story of an afternoon, my favorite has always been All that I did not understand, with that mass of unknown emerging from the depths of the canvas and swallowing all the forms and colors.
***

Questi tre brani sono costruiti in modo molto simile, in pratica registrando dei brevi pattern di chitarra e creando loop rimaneggiandoli e passandoli dagli stessi macchinari. Sono stati anche i più facili della raccolta da restaurare in quanto tenuti in multi-traccia. Tutti e tre i brani sono ispirati direttamente da dei quadri di Pietro Puccio. Tra l'attesa desolante di Sotto Antonio Ceriani e il pigro e tiepido incedere di Storia di un pomeriggio, il mio preferito è sempre stato Tutto quello che non ho capito, con quella massa di ignoto che emergeva dal fondo della tela e ingoiava le forme e i colori.

from macrogramma volume 2, released September 5, 2019
Performed & Recorded by Matteo Mariano in 2004

macrogramma volume 2

Tutto Quello Che Non Ho Capito

Open collab with @my-nocturnal-twin

Link to open collab: https://soundcloud.com/mynocturnaltwin/high-strung

Joshua M Norton's Album

A Western Ending in the Sound of High Strung Tumbleweeds  (w/My Nocturnal Twin)

Eliane Radigue - Koume

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

A place for sound freaks lashing out from the dark. 

So there's all kinds of stuff on this page, but after months of schizophrenic debates about who was playing with who and who took the lead while doing it, finally, the decision was made: all my alter egos got together and decided to form a band. From 2020 on new tracks are created under the moniker Gruppo Infernal. Only pure MMTJ tracks will still be named as such. 

Gruppo Infernal still relies on my work as Me, my Thumb and Jack, an ongoing quest for a liberating approach to sound creation where the human body acts as an oscillator amplifying the natural 50hz hum. Direct live recording, improvisations and delay loops only using analog filters and effects. No editing, no overdubs. Gruppo Infernal adds digital treatment to this original sound material. 

UnterPitch was an alter ego using samples & synths.
Bleached Coffins was a one-off project using guitars.

earliest work when I was still a pup:
https://blindsightrecords.bandcamp.com/album/throbbing-flip-out

This Is Where - 1-6:0

Hallow Ground

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