◤
the tracks on this album were recorded in the winter of early 2020. the mood of the album was influenced by various thoughts about the irreversibility of passing time. it´s about the remembrance of former friends you haven´t seen for quite a long time and then you hear of their passing. it´s about the fly on the window which is there and then it isn´t. thoughts floating through your brain like water through the river and where do they go? where is the green meadow you knew years before? you come back and then there is a new flat, a power station or a street to keep the traffic out of the village.

the tracks were recorded with a eurorack modular setup at Oberlin´s home in koblenz, germany, in the early winter of 2020.
◣
https://secretpress.bandcamp.com/album/those-fleeting-moments
released July 31, 2021

produced by Alexander Holtz
oberlin.bandcamp.com

photography by Alexander Bondar
bondaralexander.com

Those fleeting moments

cassette \ download

Oberlin - Wolli´s Tune

Sitting In The Fourth Crystal Room

tbilisi_acid

SSS & love horsin' - fancy town.mp3.exe

One track from the third release in the new SYM CD-series!
THORSTEN SOLTAU - Gewächse im Zwielicht
https://www.dronerecords.de/album.view.html?album=21322

This Friesian multi media artist with two works on one CD: his compositions combine drone-ambient and electro-acoustic elements in a wonderful (sometimes bizarre, sometimes melancholic) way, various instrumental and electronic sources are building a hypnotic web, very complex and with many unexpected twists and surprises in the mix..  this CD is like a little wonder!

"MUSIC.ART.MORPHOSIS.
A reflection.
I call myself a listening person – I am constantly listening to and into environments. This has lead to a refined sense able to picking up things that may slip the attention of others. My ears are trained to scan the places I visit – crowded metropoles, remote spots in nature or even familiar surroundings of office or home. My way of listening can be divided in two modes: the perception of sound on an unconscious level or the deliberate focus on sonics.

Becoming a sort of scanning antenna had a profound effect how I compose. The experience of my listening is reflected in my sound works. As an example several compositions feature barely noticeable overdubs. They can only be heard with specific settings of loudness and spatial room (and are therefore easy to recognize with headphones) or equalizer settings. Another example is the creation of dense clusters of sound resembling information streams or (over-)crowded places.

My goal is the creation of rich sounds with layers only reachable by multiple listening. Each work exposes itself over time with each consciously made playback / perception:
Repetition becomes a reward for the listener.

On sounds.

My compositions are either electronic or electroacoustic. A commonly used sound is the human voice or excerpts of complex synthesis. As a composer I choose my source material wisely. The starting elements have to inhabit the desired mood and intensity later formulated into full compositions. Nevertheless I am open for developments by surprise or error during sound design.

One important factor is randomness. Sounds or sound manipulating factors are mapped to random forces which allows for unexpected results. Some of my composing techniques are deliberately executed against their primary intention as well. This allows for an ever-morphing character of my works until the final touch is added.

On sonic morphosis.

My compositional ethic has strong ties to morphosis. To reflect different degrees of sonic shifting / transformation / transitions I apply several techniques and methods. As explained above the use of complex treatments and randomness allows for a sound that constantly shapes into an liquid and organic sculpture. The sonics I create are further exposed to imperfections and errors – like body and mind aging or perishing over time.

Errors are integral and welcome. Most of them occur as a glitch in the analogue or digital domain during sessions or setup changes. They give a further layer to the music resembling small failures made by the composer – adding a human touch despite their virtual origin.

On concepts.

My solo work has always been underlined by concepts. My canon includes albums with apparent or less apparent concepts. Often works can be seen as cornerstones of things I research at that time of their genesis. Several compositions reflect situations from personal life. Thus all works can be seen as intimate and highly personal sonic artifacts. Conception can be seen as the base of each work without outweighing the listeners experience. Each of my pieces can be explicitly heard as a sole composition as well."
https://thorstensoltau.de

THORSTEN SOLTAU - Das Begehren

Southern Feeder

a love horses encyclopedia extravaganza - a chlinges experionce

赤髪の緑の男

TA: Buchla Series 200, Serge Modular, contact microphone.
No plugins or other DSP. 

Recorded at EMS, Stockholm.

Thanks to Mats Lindström, Gabrielle Karlsén, Daniel Araya, Jan Rohlf, Marcus Gammel, Fernando Sixto and Marion Innocenzi.

Serge & Buchla (excerpt, recorded at EMS Stockholm)

The Funnel is the debut album by composer, instrument builder and artist Wojciech Rusin.

Combining field recordings from Port Talbot Steelworks, self built electro-acoustic instruments and vocals drawn from alchemical texts and renaissance polyphony, The Funnel is chamber-musique-concrète for the wondering troubadour of the 21st century.

"Passport to an OBSCENELY DYNAMIC, contemplative dimension - “The Funnel” is a set of ancient imaginations in a stranglehold of electronics and steel factory atmosfears, originally composed for Radiophrenia by Wojciech Rusin and now gloriously pressed and presented by Glasgow based Akashic Records.

Equipped with some adapted instruments and occultist readings (decent dose of RATHER GLOOMY Greek-Egyptian philosophy in there too) Rusin composes and engineers an unpredictably celestial moving picture for the ear - the auto-tuned intro “Paolo’s Dream” and the bellowing baritones of “Salvation” diffusing into a solemn soul-purging of post-pythagorean(?) electro-organums.

“Transmutation” sounds like a petri dish of duplicating cells, contorted beauty with strings soaring like some sorta solar wind, the internalised ecstasy fading into the ambient clatter and percussion of “Cyclops”. The brain really scrambles trying to find points of reference - so we’ll shoot from the hip and go for some ridiculous meeting point between Księżyc’s “Rabbit Eclipse” and the more contemporary work of Pierre Bastien.

Side B offers further consuming, haunted chamber music - “Sacrifice” sounds like some possessed, hologram’d high priest drowning in a sea of sub-bass and gristly electronics before rounding up this destabilising noggin-scrambler with the near ten minute Open Music enchantment “Jupiter”

LP in sliver / blue screen print artwork limited to 300

Order here - https://akashicrecords1.bandcamp.com/album/the-funnel
Distro here -https://www.lowcompany.co.uk/

Wojciech Rusin - The Funnel (excerpts)

marble silence

Marble Silence

Immersive love is a nostalgic tribute to the times of 2000s and the Netlabel scene. Back then independent musicians and music producers, used the internet to distribute their music without the intention of making a profit. They allowed other artists to use their music for free, which allowed them to express themselves without the constraints of the music industry. This passion for music-making spread to other musicians and listeners, leading to the formation of a network of labels and blogs that formed communities of individuals who created, shared, reviewed, and published the music of independent artists. However, the rise of social media and streaming platforms with algorithmic models led to a decrease in creative freedom and marked the end of this period.

- free downloads
- entire catalog released under CC BY 4.0 
- youtube safe (no copyright claim)
- not constrained to specific genre or style
- non profit
- always accepting demos

Oberlin - Wolli´s Tune

Immersive love

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