~ IIKKI 017 ~

music : Trance Farmers
photography : Kourtney Roy
album/book : Queen Of Nowhere
duration : 32.14 mn
date : May 2021

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Written/Recorded by Dayve Samek

Mastered by Simon Lancelot
Artwork by Kourtney Roy
Design by Sprflxgrfzm

"Dusty Tesla" has been previously released on "Mixtape" (self-released / 2017)

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edition :
vinyl : limited white LP to 300 copies / selective varnish / hand numbered
cd : limited to 200 cd (glass mastered) / hand numbered
book : limited to 700 copies hand numbered / embossed /  hand stamped

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pre-order : May 01st, 2022 / official release : May 19th, 2022

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Links :
https://trancefarmers.bandcamp.com/
http://www.kourtneyroy.com/
https://www.iikki-books.com/
https://iikki.bandcamp.com/
https://www.instagram.com/iikki_laaps/

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℗ & © 2 0 2 2 - I I K K I - I I K K I 0 1 7

Trance Farmers - Dusty Tesla

Just yesterday I shared the news of a recently released album by Sinemis (that's Sine Buyuka) who is the founder of Injazero Records. And today I'm happy to follow up that announcement with a sequel release to the acclaimed Volutes (2020) by Snowdrops, which is a French-based chamber duo of Christine Ott and Mathieu Gabry. For this follow-up, they are joined by violist Anne-Irène Kempf, who also appears on this seventh and last piece on the album, which I am premiering for you today. Here, the piano, played by Ott, and the Rhodes in the hands of Gabry, create a soft fabric of acoustic harmonies that lift up the veil with strings and lush pads. It's a gentle track, which slowly evolves into an ever-expanding space where it disperses into the ether. "The piece develops a lot around repetitive but evolving motifs played by all three," says Gabry of music on "Mémoires Élementaires". "We are more and more distant from each other, but still connected. The viola played by Anne-irene takes the lead, and the Rhodes dissolves into a deep magma. The phrases slow down, and the reverberated space becomes larger." Perhaps the most cinematic out of the seven tracks on the album, the piece beautifully concludes this sonic painting which is a crossover genre, somewhere between modern classical, post-folk, and electro-acoustic music.

Missing Island

Mémoires élementaires

TRACK PREMIERE : Snowdrops - Mémoires Élementaires

Stockholm-based composer Shida Shahabi returns with her sophomore album, ‘Living Circle’ - a wonderfully rich and accomplished new work that resonates with a powerful depth and viscerality. Where the warm, homespun piano of her 2018 debut, ‘Homes’, drew widespread praise and announced her arrival as a bold new voice, ‘Living Circle’ sees the artist pushing forwards into deeper, more expansive sonic realms. With tracks stretching longer and slower, and her piano lines less ornate and dominant, ‘Living Circle’ is a heavyweight album and a must-hear for fans of Stars Of The Lid, Sarah Davachi, Max Richter, Labradford, etc. Released via FatCat’s 130701 imprint on June 23rd on vinyl, CD and digital formats, it is preceded by a live show supporting A Winged Victory For The Sullen at London’s Barbican Centre on May 13th.

Living Circle

pre-order

Shida Shahabi - Aestus

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

Ephemera

Their Shadows Went Before Them

Moons Melt Milk Light

rewound

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

A track from the album Progressions out 09/22/20 on Constellation Tatsu.

Anthéne and Andrew Tasselmyer - Progressions, Pt 1 (Reprise)

Canoe

edition project focused on some dialogues between some visuals artists and music artists which works with 3 publishings by year dispatched in 2 physical imprints: a disc (vinyl/cd) and a fine art book.

Trance Farmers - Dusty Tesla

IIKKI

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