« A quarante ans, je continuais à porter des mini-jupes, des motifs extravagants, du rose, du ﬂuorescent, des étoiles en guise de boucle d’oreilles. Je continuais de me balader avec mon chapeau léopard, mon sac-peluche, mon ensemble à ﬂeurs, et puis j’ai senti dans le regard des autres que je n’avais plus l’âge pour le faire. Je suis pourtant la même qu’à mes 16 ans, c’est les autres que je vois changer » 
 On ne peut mieux décrire ce qu’est le vieillissement, sinon dans cet écart qui nait et ne cesse de croître, entre réalité physique et image spéculaire de soi : L’une s’abîme avec le temps, exposée aux lois cruelles de la pesanteur et de l’oxydation, l’autre, ne vieillit pas, reste intacte et vierge de toute altération, ﬁgée à un moment où l’on se sentait bien. Plus le temps passe, plus l’écart qui se creuse devient monde. Il peut en devenir si douloureux que beaucoup cherchent à y échapper, usant et abusant de tous les artiﬁces. 
 Youth looks so good on you est une balade sonore explorant avec étrangeté le monde intérmédiaire qui se trouve entre réalité et fanstame de soi, un monde où le culte esthétique de la jeunesse se fait le souverain du peuple.

Naomie Klaus est une productrice de musique et chanteuse française, basée à Bruxelles. Se considérant comme une actrice ratée, elle construit sa musique sous forme d’histoires et de micro-séquences dans lesquelles elle s’amuse à interpréter différents personnages avec sa voix. Elle évoque un conte de fées pour adultes, où les princesses que l’on rencontre sont des nymphomanes hystériques, armées et mal habillées.

En savoir plus sur les Heures Sauvages : https://cwb.fr/agenda/les-heures-sauvages-nef-des-marges-dans-l-ombre-des-certitudes

Naomie Klaus - Youth looks so good on you #HeuresSauvages #IdealTrouble

Chill Pill Volume V

Dizzy (Live)

Chorales

Cassette/digital available from Imprec.com

“The Generous Law,” a new album by organist Jack Langdon and guitarist Anthony Vine, presents a glimpse of the inner voices and acoustical splendor of the Fisk Organ at Wellesley College, enlivened by the intuition of two improvisers. At the keyboards, Langdon crafts geometries of patiently braided lines and incisions, configuring the hues and shades of organ stops with an ear to the materiality of sound. Vine seizes on this, tuning his guitar to the organ and bringing his strings into alignment with the harmonics of the reeds and pipes, becoming an extension of the instrument, an organ stop of sorts. The guitar flows in and around Langdon’s angular counterpoint, like the shimmer between the divots of a jigsaw puzzle, illuminating its matrix. 

The tonal design of the Fisk Organ brings these interactions into vibrant relief through its quarter-comma meantone tuning and 17th c. Danish and German stops—giving organists access to sonorities only found in historic North European churches. Resurrecting a distant sonorous past echoes the design of Wellesley College's Houghton Chapel itself, a braiding of ecclesiastical motifs with no historical center, designed to impart a sense of old-world sacredness. Fisk’s ahistorical mélange yielded something extraordinary, not a cheap replica or period imitation, but an instrument of sui generis chroma and expressivity.

The musical idioverse of Langdon and Vine is defined less by interior imaginations, established style, and compositional formality, and more by the inexplicable pull of the organ, its guiding and grounding voice. In a letter to Ross Feld, Philip Guston speaks to this abstract, yet ubiquitous dynamic in artmaking with his notion of the “generous law,” the namesake for this collection:

“I think you are writing about the generous law that exists in art. A law which can never be given but only found anew each time in the making of the work. It is a law, too, which allows your forms (characters) to spin away, take off, as if they have their own lives to lead—unexpected too—as if you cannot completely control it all. I wonder why we seek this generous law as I call it. For we do not not know how it governs—and under what special conditions it comes into being. I don’t think we are permitted to know other than temporarily. A disappearance act. The only problem is how to keep away from the minds that close in and itch (God knows why) to define it.” -Philip Guston to Ross Feld

This music is not driven by concept, process, or system, but by the wanderlust of sound, time, and listening.

Jack Langdon & Anthony Vine - The Generous Law - 1  July 27, 2022 - 1pm

Artist: ZOE EFSTATHIOU
TITLE: SOLO PIANO : EDGE OF CHAOS
FORMAT: LP & DIGITAL
CATALOGUE NO: iDEAL232
RELEASE: APRIL 2024

Zoe Efstathiou, pianist and electro-acoustic composer, originally from Greece, has lived in Sweden since 2015. Her interest shifts between the intricate relationships of the overtones of acoustic instruments, electro-acoustic textures, and the sonic potential of light installations. Her music interpolates the momentary with the ever-evolving, exploring ideas related to time, expectation and memory. There are connections to what is going on in the music of some of the 60s minimalists, where beauty and harshness meet naturally. This is Efstathiou’s debut solo album.

”In the core of the album’s creation, lies my fascination with unveiling the piano overtones by harnessing the properties of complex systems, which emerge when competing oscillations of strings interact with room acoustics, microphone placements, the piano's pedals, and its soundboard. Through long forms, incremental gestures, and nuanced timbral artifacts, the album aims to distort the perception of time and invite an introspective experience of multiple and expanded temporalities.” - Zoe Estathiou.

ZOE EFSTATHIOU - AMVRACIA (iDEAL232 LP)

Music to the game SHEEP by Bizibee Interactive LLC - Play SHEEP on steam now at store.steampowered.com/app/3636100/SHEEP/

lullaby

Physical: geographic-north.com/#/GN37-detail
Digital: geographicnorth.bandcamp.com/album/inversions
Catalog #: GN37
Enharmonic black cassette, limited to 100
Mastered by Sean McCann

Arp is the solo project of Alexis Georgopoulos, a composer/artist/producer based in New York City. Inversions is the latest chapter in Arp's evolving narrative, a diverse musical sprawl that has issued sets of captivating brilliance on the likes of RVNG Intl., Mexican Summer, and Smalltown Supersound. This cassette fortuitously bridges together Arp's shapeshifting identity, from avant-koscmische tinkerer to avant-classical composer and dance-floor modulator.

"Raga for Moog & Violin" and "Flamingo" were originally created for a sound installation presented at Jack Hanley Gallery in New York City in 2014. Both tracks were composed in the same key (C minor Dorian), chosen for its ability to be heard in great lengths of time, its root in cultures from ancient Greece to India, and its link to visions of futurism, Arp's sound installation reflects and refracts themes explored by both creative studio RO/LU and filmmaker Paul Clipson. 

Using a Moog synthesizer, and featuring Nicky Mao (who records under the name Hiro Kone) on violin and piano, the mode allows the listener/visitor to focus on sound at times and plays a subliminal, sometimes barely perceptible role, at others. Analog synthesizer overtones give way to violin, moving gradually at first, then building into a cascade of sound, before receding. This process regenerates over the course of the piece, each time doing so differently.

Inversions also includes "East of the Sun, West of the Moon," a track intended for the installation that was not used in the end. Here, it refinds its original companions.

A1 - Raga for Moog & Violin (ft. Hiro Kone)

AFX __ analord series__mixed (the lost mix series)  11/12/17

'Flor' from the upcoming Release 'Moto Perpetuo' on Marionette.

Written and Produced by Benjamin Kilchhofer and Michael Anklin
Cat. no.: Marionette09
Format: 12” Vinyl (180g) + Digital
Release Date: March 2019

Jack Langdon & Anthony Vine - The Generous Law - 1 July 27, 2022 - 1pm

IMPREC

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