Valley Girl was inspired by the agriculture and landscapes of Oakland, California and its  horizon of rolling hills. The peaks and valleys of the album's landscape are made of fifteen computer generated tones that cycle through melodies driven by ambisonic surround-sound locations to define space.

Computer tones were treated with phase-modulation of triangle waveforms to control the duty cycle of the sine tone. This created a prickly crispness and coiled release that enabled frequency registers to shift back and forth with various levels of control. I used my voice and vocal harmonizer with a midi arpeggiator to make a gated succession of notes in a more controlled frequency range.

The computer material was recorded live with little editing besides the addition of silence to accentuate vocals as a separate entity. The voice was then placed in the silences - or valleys - between melodies. The vocals were recorded live to tape from a parallel practice of recording processed voice improvisations with electronics.

Valley Girl evolves from the synthetic sounds I have been generating on computers for the past several years. When I perform live it typically involves computer synthesis. With the addition of processed voice in the silent spaces of the album five pieces, I have in a way marked the topography of Valley Girl with human traces.    - Madalyn Merkey, 2014

       

Madalyn Merkey - Archipelago

'Miaux is the operating handle of Belgium's Mia Prce. Most of her prior recordings have been issued by Dennis Tyfus' Ultra Eczema label, but after catching her set at last year's Bruismelk festival, Feeding Tube had to “have” her new record. 
Unlike other known works, whereon Miaux is a mistress of elaborate keyboard shenanigans that border on the gothic, Above the High Rays brims with music of a very soundtrackly nature. It mixes Neo-Eastern percussion symbiography with floating swathes of parachute color, all of it presumably birthed from Mia's hands and keys. It's easy to imagine a Jodorowksy carnival scene, shot like the opening of Welles' Touch of Evil, while this album spins. It is soaked with a haunted, lonely quality that touches the edges of mystery like a torch. 
Cover art and one side of etchings by Mr. Tyfus, himself. The tears you shed will be your own.'
Text by Byron Coley

Above The High Rays was composed for a screening of René Clair's sci-fi classic Paris Qui Dort. Released on a one sided 12" with etching on Feeding Tube Records and on cassette on Ultra Eczema.

Above The High Rays

Above The High Rays, 12" Feeding Tube Records / Tape, Ultra Eczema

A selection of tracks from Rupert Clervaux & Beatrice Dillon's 'Studies I-XVII for Samplers and Percussion'. 

Available on LP and as a download.  All LPs come with the download included.

II – by Rupert Clervaux & Beatrice Dillon

from the album 'precious systems' available 7/15

mj guider 'lit negative'

Kaitlyn Aurelia Smith & Suzanne Ciani - Closed Circuit

Learn more at RVNG: http://smarturl.it/frkwys13-rvng
Add to your collection at Bandcamp: http://smarturl.it/frkwys13-bcamp
Download + stream everywhere else here: http://smarturl.it/frkwys13-digital

From FRKWYS Vol. 13: Sunergy. Out everywhere September 16, 2016.

℗ and © 2016 RVNG Intl. / www.igetrvng.com

FRKWYS Vol. 13 - Sunergy

Closed Circuit

Kaitlyn Aurelia Smith & Suzanne Ciani - Closed Circuit

Alessandro Cortini, live instrumental set at Death By Audio, NYC, December 11 2011. Performed on a Buchla Music Easel.

Alessandro Cortini - live at Death By Audio, december 2011

Experimental cinema sonics, electroacoustic research practice and shadowy wind instruments come together to form this unique interpretation of the mythical city of gold. Utilising rare, half forgotten Soviet era synthesisers Vladimir Karpov creates immersive soundscapes under the name XYR. The Formanta mini keytar and the Alisa 1377 lend Karpov’s music strange, seldom heard atmospheres which the St. Petersburg native then combines with field recordings, toy percussion and wood flute to further build upon his utopian narratives.

Part concept album, part nod to Popol Vuh, his attempt to channel the thematics of the ancient tale of the Muisca people through his modest home studio left a lasting impression on us here at 12th Isle and we’re proud to present a selection of the tracks on vinyl for the very first time. Originally confined to just 25 cassette tapes, for this edition we have assembled some of the most inspiring tracks from the sessions as well as the bonus closing piece ‘Aguirre Song’. Immediately engaging, sincerely heartfelt and strikingly original, these are recordings we have returned to time and time again.

Limited edition LP comes housed in screenprinted sleeve. ‘El Dorado’ recorded April – August 2014, originally released via Illuminated Paths (March 2015).

https://12thisle.bandcamp.com/album/x-y-r-el-dorado

ISLE003

XYR - El Dorado LP (ISLE003)

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)

From the album Anne.  Available November 16, 2018 from Western Vinyl.

Bandcamp https://josephshabason.bandcamp.com/album/anne
iTunes https://itunes.apple.com/us/album/anne/1427808233?ls=1&app=itunes
Spotify https://open.spotify.com/album/19FD6RN5K3xYFThAHM4fGy?si=0hUO0rFVQAigvSPTvJL_4w
WV http://westernvinyl.com/shop/wv182

Joseph Shabason
Twitter https://twitter.com/JosephShabason
Instagram https://www.instagram.com/josephshabason/
Facebook https://www.facebook.com/josephshabason

Anne, the second album By Toronto saxophonist and composer Joseph Shabason, is a tonal essay on degenerative illness. Delicately and compassionately woven with interviews of Shabason’s mother from whom the album takes its name, Anne finds its creator navigating a labyrinth of subtle and tragic emotions arising from his mother's struggle with Parkinson’s disease. Across the nine vivid postcards of jazz-laden ambience that comprise the album, Shabason unwraps these difficult themes with great care and focus revealing the unseen aspects of degenerative diseases that force us to re-examine common notions of self, identity, and mortality. 

Shabason’s uncanny ability to manoeuvre through such microscopic feelings is mirrored by his capacity to execute a similar tightrope-walk through musical genres. His music occupies a specific space that is as palpable as it is difficult to pin labels to. On Anne’s second track “Deep Dark Divide” rays of effected saxophone shine behind clouds of digital synthesizer that echoes the sound of jazz in the late 80s, but with a Jon Hassell-esque depth of sensibility that consciously subverts the stylistic inoffensiveness of that era. There is detail and idiosyncrasy beneath Shabason’s dawn-of-the-CD-era sheen that elevates the album far beyond a mere aesthetic exercise.

Still, the sounds on Anne are not so experimentally opaque as to stand in the way of the album’s through-line of sincerity and emotionality. When dissonance is employed it is punctual and meaningful, like on album-middler “Fred and Lil” where a six-minute cascade of breathy textures builds suddenly to an agitated growl, only to abruptly give way to Anne Shabason speaking intimately about her relationship to her own parents. Snippets of such conversations see her taking on something like a narrator role across Anne while the sound of her voice itself is sometimes effected to become a musical texture entwined into the fabric of the songs without always being present or audible.  The subsequent piece “Toh Koh” then drifts into playful disorientation as a lone female voice echoes the two syllables of the title, recalling the vocal techniques of composer Joan La Barbara, or even the light-hearted mantras of Lucky Dragons. From here the album veers back onto its aesthetic thoroughfare with “November” where Shabason lays muted brass textures atop a wavepool of electric chords provided by none other than the ambient cult-hero Gigi Masin, one of Anne’s many integral collaborators.

The serene tragedy of the album distils itself gracefully into the ironically titled album closer “Treat it Like a Wine Bar” wherein flutters of piano and mournfully whispered woodwinds seem to evaporate particle by delicate particle, leaving the listener with a faint emotional afterglow like a dream upon waking. There is a corollary to be drawn here with what it must be like to feel one’s own mind and body drift away slowly until nothing remains, while the collection of memories and abilities that we use to denote the “self” softens into eternity. On Anne, it is precisely this fragile exchange of tranquillity and anguish that Joseph Shabason has proven his singular ability to articulate.

Anne

Joseph Shabason - "Forest Run"

Living With You is the third track to be aired from John Cale’s Shifty Adventures in Nookie Wood (released October 2012). Its craftsmanship and artfulness belied the unparalleled career experience of John Cale, and many heard it as rock music at its most sublime.

Living With You is built on Cale’s trademark viola drone with some of the most delicate nylon guitar picking he claims to have ever heard. He also says that here he ‘found a way to write a nice feeling and not be terribly sappy about it. I do have an occasional moment of happiness, but they never last too long!’ he laughs. 

The single bundle comes with an ‘Organic Mix’ of the track, which is a more stripped down version made by Cale that revels in the stark and nakedly emotional nature of the song and a Laurel Halo Remix. This remix comes after a defining year for Laurel who was awarded Wire’s album of the year in 2012 after the release of her critically lauded debut full length ‘Quarantine’.

Out Now on iTunes: http://bit.ly/13IwP3v and all good digital retailers.

Living With You

John Cale - Living With You (Laurel Halo Remix)

From the album 'Intimate Immensity'
Out on Hands In The Dark on 26th March 2021 (LP)
www.handsinthedarkrecords.bandcamp.com

TOMAGA - Intimate Immensity

Hands In The Dark

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