V2.2

V2.2 (Suzanne Ciani remix)

FATE IS OUT NOW 
https://music.alexlustig.com/fate


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Fate

Purchase: bit.ly/3OWXicn
Catalog #: GN64
June 10, 2022
LP+DIGI

Smoke Point is a duo composed of Brian Foote (Peak Oil, Leech, Kranky) and Sage Caswell (Spring Theory). With their self-titled debut LP on Geographic North, the Los Angeles-based duo takes a captivating cruise through heady ambient drifts and ruthlessly rhythmic loop dreams.

Foote and Caswell first teamed up to create a series of improvisational atmospherics throughout a multi-room art gallery. The pair conceived of a sprawling, dynamic experience with tones, rhythms, and textures that varied from room to room, yet were inextricably tuned and melded together. Visitors could serve as a sort of human crossfader, moving through the gallery and dialing up or down aural aspects as they pleased. And although the collaboration came together to create music for a specific physical space, the concept was never fully realized until what is now the duo’s first record. 

Smoke Point brings five extended, cruise-controlled exercises that calmly violate the Venn diagram's overlap between boundless dance music and unfathomable ambiance. But beyond the boundaries of an album as a set of songs, Foote and Caswell cracked things wide open and recontextualized the album as an actual DJ tool onto itself; ambient leaning and melodically focused. To achieve this, 'Smoke Point' offers a bounty of loops in the form of endless locked grooves on the vinyl edition and brief but equally utilitarian snippets on the digital edition of the LP.

Smoke Point

Smoke Point - "Awakening"

Let's Turn It Into Sound

Pivot Signal

Extract from 'Image Langage' (SP140)
Out June, 24th 2022 on 2xLPs, CD, digital download.

Order: https://feliciaatkinson.bandcamp.com/album/image-langage

—
Opening the window, I look at the light, it connects me to something more vast.

Felicia Atkinson’s music always puts the listener somewhere in particular. There are two categories of place that are important to Image Langage: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record—Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy—the landscape is what is waiting for you when you leave the house, and vice-versa. Each threatens—or is it offers, kindly, even promises?—to dissolve the other. Recognizing the normalization of home studios these days, she revisited twentieth-century women artists who variously chose, and were chosen by, their homes as a place to work: the desert retreats of Agnes Martin and Georgia O’Keefe, the life and death of Sylvia Plath. Building a record is like building a house: a structure in which one can encounter oneself, each room a song with its own function in the project of everyday life.

At times listening to Image Langage is immediate, something like visiting a house by the sea, sharing the same ground, being invited to witness Atkinson’s acts of seeing, hearing, and reading in a sonic double of the places they occurred. In an aching moment of clarity in “The Lake is Speaking,” a pair of voices emerge out of the primordial murk of piano and organ, accompanying the listener to the edge of a reflective pool that makes a mirror of the cosmos. “I open my feet to fresh dirt, and the wet grass. I hold your hand. You hold his hand. In the distance without any distance. The comets, the stars.” At other times, listening to Image Langage is more like being in a theater, the composition a tangle of flickering forms and media that illuminate as best they can the darkness from which we experience it. On “Pieces of Sylvia,” a noirish orchestra drones and clatters beneath and around a montage of vocal images, stretching the listener across time, space, subjectivities. Atkinson says that Image Langage is like the fake title of a fake Godard film. There is indeed something cinematic about Atkinson’s work—not cinematic in the sense that it sounds like the score for someone else’s film, but cinematic in the sense that it produces its own images and language and narratives, a kind of deliberate, dimensional world-building in sound.

Image Langage is built from instruments recorded as if field recordings, sound-images of instruments conjured from a keyboard, instruments Atkinson treats like characters, what she calls “a fantasy of an orchestra that doesn’t exist.” And then, speaking of Godard, there are the monologues, operating as both experimental-cinematic device and a literary style of narration. Voice can be a writerly anchor or a wisp of a textural presence. Atkinson’s capacious and slippery speech plunges into and out of the compositional depths, shifting shapes, channeling the voices of any number of beings, subjectivities, or elements of her surroundings—not unlike her midi keyboard, able to speak as a vast array of instruments.

Image Language is an environmental record, in the vastest sense of the world. It is about getting lost in places imagined and real; it registers, too, the dizzying feeling of moving between such sites. It puts forth a concept of self that is hopelessly entangled with the rest of the world, born of both the ache of distance and the warmth of proximity.

— Thea Ballard, 02.2022

FELICIA ATKINSON 'The Lake Is Speaking' (SP140)

Building Something Beautiful For Me

Building Something Beautiful For Me (Holy Presence of Joan d'Arc)

Tewksbury - Brutes (HH146)
Tape + Digital release date: July 15th, 2022

Tewksbury / Soundcloud - @tewksbury-music
Tewksbury / Official - tewksbury-music.com/
Tewksbury / IG - www.instagram.com/tewksbury_music/

Tewksbury - BANDA MOUNTAIN (Excerpt) [DIGITAL ONLY]

Hush Hush Records

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