Great interaction between sax and electronics!

forestwalk

Solpuga

Hi, friends!

After an almost annual break, Pep Gaffe came back with the new tape by our all-time associates - Tofudj and Acid Jordan who deserves no introduction for the majority of ours listeners. These beautiful amorphous tracks were recorded last summer in the house by the river somewhere near Poltava.

As usual, we printed a strictly limited edition of tapes, which you could pre-order right now through the Bandcamp page or by writing us directly to the Instagram page (link in bio).

Hurry up if you want to grab your copy first ;)

Bandcamp: https://pepgaffe.bandcamp.com/album/s-z-2

Recorded at Summer-Autumn of 2020
Produced by @tofudj & @acid_jordan
Photography by @tofudj
Design by Syoma Mokrov

S-Z-2

Pre-order Tape

S-Z-2 - Untitled (A1) [PG03]

new single from r.roo & troxellemott
https://someonerecords.bandcamp.com/album/formaldehyde
someone_rec.
catalog: some038

troxellemott & r.roo: formaldehyde

Composed and produced by Kristian Marcussen.

Violin: Josefin Lykken

Blomsterspiren

Nisantashi Primary School EP – listen/buy at nisantashi.bandcamp.com

Nisantashi Primary School are Vlad, Lucy and Mykhaylo from Kiev. This electronic-pop trio embraces weird sounds and holds omnivorous but clearly discerning appetites for mixing disco, funk and dub grooves. Their debut EP is a mix of snappy and moody synth sounds, vintage-tinged bass lines and gritty rhythms.

The selection of tracks is a showcase of moods and influences: from the feverish and psychedelic "Mr. Fingers" with Fumaça Preta's Alex Figueira on drums, to the nocturnal dancefloor gem “Hills”. Hints of dance records from 80’s NYC, synth-based disco and krautrock come through, but an eastern european immediacy and faux-débutant approach brings its own flavor to the table.

While dance music from Kiev might seem surprising, what do we really know about this city's energy? From the place where so many things are happening these days, maybe it’s time to see something else unfold.

iTunes – itunes.apple.com/ua/album/nisanta…-ep/id1281983044
Spotify – open.spotify.com/album/5sU4WVV4w6RBLdiO4oeOP6
Deezer – www.deezer.com/en/album/47916842
GooglePlay – play.google.com/store/music/album…mvg62gohgy4&hl=en

Past Yesterday (Goldenliustra mix)

VINYL, DIGITAL, CD: http://bit.ly/N45-NOTON-SHOP

N-45 - ALVA NOTO - UNIEQAV
RELEASE DATE: MARCH 16TH, 2018

The Uni series began when Alva Noto was booked to play live at the club UNIT in Tokyo, and had to adapt his sound accordingly for that environment.

‘UNIEQAV’ follows-on from and develops the concept of Alva Noto’s ‘Unitxt’ and ‘Univrs’ albums, and completes the third part in the trilogy, whereby each record is both unique and part of the bigger picture. This is also mirrored in the artwork for each release, which when combined form a triptych spelling ‘Uni’.

Described by Carsten as “sonically representing an underwater dive”, the gleaming ‘UNIEQAV’ brings as usual an inherent artistic, conceptual and scientific depth. Mathematics, data, unit systems, grids, rhythms, codes, text, language, spoken word, DNA, science technology and nature are all utilised, for both inspiration and execution.  

As with the last two Uni releases, the French sound poet Anne-James Chaton collaborates here, on ‘Uni Dna’. Where on previous records Chaton first provided a vocal track to which Nicolai composed, this time the duo flipped it; the poet wrote for an existing track, adding his unique vocal approach to recite amino acids that constitute the DNA molecule.

Regarding Carsten’s interest in 3D sound design and building sonic spaces, ‘UNIEQAV’ transports the listener to a modern, spacious and zen-like place for meditative movement. But conversely the album works equally well in a dark club - as for every glistening digital spark and simple, emotive melody - there’s a stealthy bassline, frenetic drum pattern and colossal low-end thump.

@alvanoto

http://noton.info/

UNIEQAV

Alva Noto - Uni Blue

Premiered by @resident-advisor 
https://www.residentadvisor.net/tracks/893826

"I made this track from samples of a piano board I recorded in EMS Stockholm with LAIR while we were working on our project. And some microphone hiss for the beats. I have been making purely percussive tracks recently for my upcoming album, so for this track I wanted to have an emotive melodic element as well. The title refers to the difficulty it seems as a human to live as you truly want, as opposed to how you think you should." - @eomac

Eomac - Don't Fear Your Own Heart

The month was a signpost for fun, a guidance for adventure and a sign to go outside. July was a special time of year - there was a warmth in the air which cast a spell through the minds of those lucky enough to dance beneath the glow of the golden, orange rays. The long grass blew softly upon the breeze as the tall trees looked down upon the revellers who had gathered in the park with eager intent. They would bathe in the heat which crisped their skin and sing songs about cloudy days. 

Muscut continue to intrigue, the abstract experimental label and collective has acted as a platform for a wealth of fresh faced musicians and producers. No two releases are the same and the music is often as odd and subjective as it is listenable. We like that..

A new EP from Mlin Patz offers up perhaps what is one of the most accessible releases in the catalogue to date - a heady mixture of dub, balearic melodies and subtle instrumentation.

Sunlimit

PREMIERE: Mlin Patz - July [Muscut]

Valentina Goncharova - Recordings 1987-1991, Vol. 1
Cat. number: Shukai 03
Format: 2LP, Limited to 300
Pre-order: https://shukai.bandcamp.com/album/recordings-1987-1991-vol-1

Tracklist:
A1 Symphony Of Wind
A2 Insight
A3 Zen Garden
B1 Passageway To Eternity
B2 Maitreya
B3 Higher Frequencies
C1 Metamorphoses
C2 Contemplation
D1 Vigor
D2 Dynamics

Liner notes:
Historically informed violin player, prize-winning street musician, new age experimentalist, chamber ensemble performer and conservatoire deviant. The career of Valentina Goncharova (b. Kyiv 1953) shares parallels with those associated with the broader new music movement of the 20th century and the dissemination of home recording technologies. Valentina’s was a youth spent immersed in the world of classical music study under soviet rule, first in Kyiv and later in Leningrad (now St. Petersburg) from the age of 16. With the supervision of professors M. Vayman and B. Gutnikov she learned concert violin and developed alternate playing styles alongside skilled pianists. A student of the Leningrad conservatoire during the years 1969 through to 1983, her repertoire included music for violin and later expanded to contemporary music composition. The improvisatory nature of free jazz and then-budding experimental rock circles also intrigued Valentina during this period in Leningrad. Departing from the rules of the conservatoire, she briefly performed in underground rock clubs alongside future members of the industrial group Pop-Mechanika (Popular Mechanics). This perpetual state of flux is central to the variety found within ‘Recordings Vol. 1’, though as opposed to any degree of uncertainty Valentina’s practice is one in flux by way of earnest curiosity.
						
Pushing further into an exploration of solo electro-acoustic sounds, she took to home taping on a modified Olimp reel to reel recorder. Intrigued by the manipulability of dubbing and the fresh sounds of DIY effects chains, Goncharova developed pickups alongside her husband Igor Zubkov. Her infatuation with the music of Stockhausen, Xenakis, Ganelin Trio and Pierre Boulez channels through considerations of space and erratic sound design, the three movements of ‘Metamorphoses’ embodying this textural approach to musique concrete. The compositional skills developed in Leningrad unfold in the romantic gestures of ‘Higher Frequencies’, whilst manipulated cello combines with synthesise keys across ‘Passageway To Eternity’. The slow, pulsating drone soundscapes recall the likes of Robert Rutman’s US Steel Cello Ensemble or even deep listening pioneer Pauline Oliveros.
						
The juxtaposition of written notation and improvisatory flare is central to Goncharova’s sound world. This period of home recording documents a confluence of minimalism, free form and flirtations with new age tropes (inc. bell chimes and cavernous vocal mantras). Experimenting with unusual performance techniques, such as shouting into amplified cello strings, Valentina’s home studio functioned as a place to foster full artistic and creative freedom away from any academic strictures.

Credits:			
Composed and arranged by Valentina Goncharova Recorded in Tallinn and London during 1987—1991
						
Mastered by @producedbyflaty
Compiled by Sasha Tsapenko, Dmytro Prutkin and Dmytro Nikolaienko 
Liner notes by Fergus Clark (@fergus_clark)
						
Master tapes courtesy by Valentina Goncharova
Photos by Igor Glazistov
Special thanks to Ats Luik and Martin Jõela

Valentina Goncharova - Recordings 1987-1991, Vol. 1 (excerpts)

Ukrainian duo Heinali (aka Kyiv-based composer / sound-artist Oleg Shpudeiko) and pioneering experimental jazz saxophonist Michael Balog combine for a special one-off EP of improvised melody and exploratory sonics.

Brimming with the characteristic confidence of two acutely skilled musicians, A Mechanical Bird in an Electric Garden represents a meeting of two disparate approaches and a departure from Shpudeiko and Balog’s usual work. The record reveals Heinali’s love for generative polyphony and polyrhythms, his strange sci-fi sonics creating a spacious, futurist architecture that houses Michael Balog’s (relatively) recogniseable sounding - a snaking melodic binding that wraps through the machinery like coloured ribbon.

"The name A Mechanical Bird in an Electric Garden reflects the nature of our interaction,” Heinali tells us. “Machine based generative polyrhythms and generative polyphony vs human improvisation. The name came from my own mythology that kind of developed on its own during the past year. I started to refer to my music as "electric gardens of polyphony". Partly because gardens are usually inhabited by many independent voices of various birds that usually sound at the same time. And polyphonic compositions of pre-Baroque era are very similar to gardens: they have a very stable horizontal quality that is not so much about expression as it is about exploration of certain states (similar to some of the contemporary music practices like drone that deal with musical sculptures instead of musical compositions). Partly because of Brian Eno's idea of composer as a gardener. And the mechanical bird is, of course, Michael's saxophone.”

Over almost twenty years of beautiful, mercurial, creative expression, Heinali has become a much sought-after creator of electroacoustic soundscapes. His 2017 and 2018 releases on London / Istanbul electronic label Injazero Records garnered huge acclaim from press and radio worldwide, marking his arrival as a singular and significant voice in the experimental-electronic music landscape. He has also composed original music for video games, contemporary dance production and installation. His recorded works have been released on Injazero, Sony Interactive Entertainment, The Flenser, Fluttery, NEN, Paradigms and other labels. His history of live performances includes appearances at venues and festivals such as the Zorlu Performing Arts Center in Istanbul; Plivka, Art Arsenal, and Mystetskyi Arsenal in Kyiv; Ukraine’s Next Sound festival and Museum of Modern Art of Odessa; and Berlin’s Akademie der Künste.

Michael Balog is Ukrainian jazz saxophonist and musician. He is an author of educational methods and the founder of Lviv’s Vedel School of Contemporary Music. Domestically celebrated for his multidisciplinary art projects, Balog is an ongoing experimenter, connecting spiritual chorals, improvisational music, theatre and film works, jazz and electronic music.

A Mechanical Bird in an Electric Garden

Nocturnal Song

Oleh Shpudeiko is a music composer and sound artist who records as Heinali. He specialises in electronic music and is interested in reimagining early music in modular synthesis. Oleh writes music for games, films, choreography performances, creates sound art installations and performs live shows.

Amongst his works is award-winning music for the video game BOUND by Plastic/Sony Santa Monica, the 2020 album MADRIGALS shortlisted for the Shevchenko National Prize, and compositions and sound art installations commissioned by The Museum of Modern Art (MoMA), The National Art Museum of Ukraine (NAMU) and Museum of Odesa Modern Art (MSIO).

He has a long history of live performances, including appearances at venues and festivals such as NEXT in Bratislava, Unsound in Krakow; Berlin’s Berliner Dom, in collaboration with the Alter Ratio vocal ensemble; Kyiv’s Plivka and Mystetskyi Arsenal and Ukraine’s Next Sound festival.

Nocturnal Song

heinali

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