The latest release by Mexican artist Microhm aka Leslie García brings together influences from experimental electronics, drone and ambient to create a cinematic experience that seeks to take listeners on a journey inside themselves. A contemporary composition that shows us his mastery by transmitting both disturbing and profound emotions, always inciting catharsis in each of the moments of this new EP. Recorded live with a setup of analog synthesizers.

Buy Cassette / Digital

Microhm - Emerging From The Depths

Bright sin of the ether
Blurry in the ambit, like a red shield
With a ray, opens up to the eye
Divided sky in two
Eastern, despicable poison
Gathered in an instant

There are fields ready yet unrecognized sky
Like a felon in broad daylight
Bitterness, hurries down - burns behind the marshes
This fleeing distance of the corners - It throws a weak beam.

Over all these years, going through the motions in busy streets, courts and ballrooms, marching along with the parade, one will see an endless gallery of facades, masks, faux costumes, and contrived personas. Only a sensitive hand can tear down this adhered wallpaper of imitation. Standing under this gleaming sunrise is not an act of defiance, anger, or detachment; it is invitation, albeit a futile one, to see what lies beneath.

Copenhagen-based visual and musical artist øjeRum presents 'Lav Sol', an album of symbolistic landscapes seen through intuition. In his music, Paw Grabowski effortlessly combines traditional, classical themes and motives into contemporary poetic forms. The three long-take recordings of Lav Sol inspire to look for the truth under the surface.

Lav Sol

øjeRum - Fyret Der Lyser Over Skyerne

https://banabila.bandcamp.com/track/orbital-resonance

Artwork: Shane Davis.
ZIno Mikorey Mastering Berlin.
Composed & performed by Michel Banabila.

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UPC 196626499271.
2022 ℗ Tapu Records.
Catalog nr. 18022022TR.

Orbital Resonance

FLAU w/ Federico Madeddu Giuntoli - 28/10/2022

https://rimetrails.bandcamp.com/album/ephemera

Ephemera

Their Shadows Went Before Them

Okokon - Soft

JFDR, Everytime (Britney Spears cover)
Yoko Ono, Namyohorengekyo 
Tatu Rönkkö, Density 
JFDR, Yearn ft. SLUGZ
Buffy Sainte-Marie, God is Alive, Magic is Afoot 
Belong, I Never Lose, Never Really
Modern Lovers, I'm Straight 
Groundislava, Creeper Shit
J Dilla, Nothing Like This
Arthur Russell, Keeping Up 
Lou Reed, Street Hassle
Tatu Rönkkö, Taikatalvi
Grey Gersten, The Pea Transformation Meditation 
Baby Dee, An Early Spring

slumber session: JFDR

Yllään on aamu, korennot ja kesä (Svarte Greiner remix)

Excerpt from a release with Longform Editions. Listen/purchase the full track here https://longformeditions.bandcamp.com/track/immaterial

// 
Earlier this year I spent a two-month period on residency in Hong Kong. I was instantly drawn to the colour and vibrancy of the city, as well as to certain materials and objects that kept reappearing on my explorations.

Billowy, gauzy construction cloth that covered spiny bamboo scaffolding, the devastatingly-inviting colourful-sheen of single-use plastics, discarded durian husks, the deep blue night-time sky made hazy/dreamy/luminous from neon lighting, lush and vibrant green foliage…

I was thinking about the small variations in the repetition of these materials, as well as the repetition of certain images and sounds.

The phasing on/off flash of orange construction lights lining long stretches of road; the rhythmic phasing of multiple pedestrian crossing beeps heard simultaneously. the overhead circling of the kites (seabirds) in the sky; the below-water circling of plastic bags in the harbour.

For a little while now I’ve been cultivating an obsession with the relationships between sound, material/object and texture. How feeling can inform listening, how listening is feeling, and how this felt-listening can alter our perception of things as we are taught to ‘know’ them. For me listening is acknowledging the intrinsic connections between our surroundings and ourselves.

If we acknowledge the vibrancy and resonance of everyday objects how might this change our actions and thinking around them.

"My hunch is that the image of dead or thoroughly instrumentalised matter feeds human hubris and our earth-destroying fantasies of conquest and consumption. It does so by preventing us from detecting (seeing, hearing, smelling, tasting, feeling) a fuller range of the nonhuman powers circulating around and within human bodies." Jane Bennett in Vibrant Matter

It occurred to me, whilst writing this and listening back, that not only are materials amplified in Immaterial but certain sounds appear almost material in themselves, such as the squeak of shoes on basketball courts, and the droplets of rain on foliage. These sounds seem not to belong to shoe or court, rain or leaf, but are formed in the entwining to become a thing in themselves. It is this connectedness through sound that I am fascinated with. Through sound unequal forms can be connected: mic distortion disguises itself as crinkling plastic bags that blends into the crackling sound of shrimp underwater.

Sound waves traverse through our bodies and our surroundings, forming knots and vibrations and connections and confusions. In sound material blends with the immaterial and new imaginaries can be made, for me this is a way out.

Immaterial was composed in parallel to these thoughts.
Like silky-soft milky tea tasted alongside a crispy-sweet pineapple bun.
//

All sounds heard on Immaterial (excepting one recording of clarinet) were recorded in Hong Kong between April and June 2019.
Composed, performed, recorded and mixed by Alexandra Spence
Additional percussion by Karen Yu
Mastered by A.F. Jones at Laminal Audio

Immaterial excerpt

Pakistani-American avant-composer and drummer of the cult experimental acoustic trio Dawn of Midi, Qasim Naqvi, has announced a new record titled 'Beta' to be released as a limited edition on clear vinyl for Record Store Day 2020 on June 20.

Meant as a sister release to last year’s acclaimed six-part modular synth suite 'Teenages', 'Beta' is a series of experiments chronicling Naqvi’s understanding of writing for this type of instrument and the growth of the instrument itself.

“Beta is a prequel to the story of 'Teenages'. At the time I had the most basic elements of a modular synthesiser — one oscillator and a random voltage generator which is a module that releases sporadic currents through the system. Ironically, this component provided a lot of warmth and humanness to the music, a kind of fallibility. I fed simple melodic ideas and rhythmic patterns into this bare bones setup and observed the responses, while occasionally guiding the music in other directions. It was like a diagnostic test. At the time I felt that this music was underdeveloped but listening back, I think the 'Beta' tracks add an interesting dimension to the entire 'Teenages' arc. They’re the zygotes.” — Qasim Naqvi

The B side of 'Beta' is a live performance of the track 'Teenages', which was recorded at the first Erased Tapes x LCO: Purcell Session at Southbank Centre, London in February 2019. 

If 'Teenages' captured the sound of electronics living, breathing and mutating of their own accord, 'Beta' rather describes the moment they came to life.

Visit the official RSD website: https://recordstoreday.co.uk/releases/rsd-2020/qasim-naqvi/

slumber session: JFDR

i-D