From the forthcoming compilation "Gigi Masin - Talk To The Sea" 2013 © Music From Memory

Gigi Masin - Fata Morgana (4:30)

Ambient Loop For Vancouver is a hypnotically lyrical 54 minute composition featuring Alan Licht, Christian Marclay and William Hooker.
Packaged in a heavy duty screen printed Arigato Pack. Printed at Imprec in an edition of 400.

Lee Ranaldo Ambient Loop For Vancouver (excerpt) Christian Marclay, Alan Licht, William Hooker CD

PLAYED BY:
GREGOR SCHWELLENBACH (PIANO)
LUKAS VOGEL (DELAYS)

TERRY RILEY - KEYBOARD STUDY #1 - FILM

Out on December 21

release page: https://dronarivm.com/2016/12/07/chihei-hatakeyama-above-the-desert/

"Our intention is to affirm this life, not to bring order out of chaos, nor to suggest improvements in creation, but simply to wake up to the very life we’re living, which is so excellent once one gets one’s mind and desires out of its way and lets it act of its own accord". 

- John Cage 

I recorded this album in the basement studio. 
I recorded the sound output from the guitar amp and the speaker. 
The sound seemed to be blowing. 
In this album I worked underground in the bottom, so I imagined by creating an image of the sky. 
So this album is the theme of desert and sky. 

- Chihei Hatakeyama 

Chihei Hatakeyama's pure white zen drone is one of those good ways to wake up, probably.

Above The Desert

Buy CD

CHIHEI HATAKEYAMA - Energy (from 'Above the Desert' CD)

Phonophani returns! New album "Animal Imagination" due for relase on CD and 2LP June 9  Worldwide. (Norway: May 12).

Making Music Like a Dog

Animal Imagination is the latest album by Espen Sommer Eide, recording as Phonophani. An extraordinary achievement on many levels, by turns shockingly beautiful, densely allusive and formidably obscure, it marks the return by Eide to his occasional alias Phonophani, whose self-titled debut was released (on the Biophon label) as long ago as 1998, followed by ‘Genetic Engineering’ for Rune Grammofon in 2001. It also represents Eide's return (since Phonophani's ‘Kreken’, from 2010) to the solo album format itself, after a period of working predominantly in experimental sound or audio art projects, and with Alog, his longstanding partnership with Dag-Are Haugen. In 2005, Alog received the Norwegian equivalent of a Grammy, the Spellemannprisen, and were nominated once again in 2007.

Although hardly a conventional ‘comeback’ album, Animal Imagination does feel like a significant re-boot. It occupies a liminal space somewhere between the earlier ambient electronica and more recent sound installations created and exhibited in the context of the art museum or gallery, both in Bergen and internationally. This ‘liminality' can also be viewed in its original, anthropological sense as a threshold of disorientation or ambiguity between the different stages of a ritual. Animal Imagination, in other words, is an unstable text, not quite one thing or the other. Instead, it presents us with a new, ritualistic and intensely physical approach to the creation of sound/music, in which reason and intellect have given way to intuition, magic and, perhaps, brute force. As Eide says in his brief sleeve note: I started hammering the keyboard with my paws, the sound rushing past me like wind while running. There was no composition or reasoning, just the beating of blood in my ears. I was finally making music like a dog. If you want a soundtrack for howling at the moon, this is it.

In conclusion, it is perhaps the imaginative space we can find between the notes of Phonophani’s music that allows us to be so drawn into it. Like the flicker-effect of moire patterns on our brain, or the play of light on our eyelids investigated as a portal into a new way of seeing by William Burroughs and Brion Gysin with their Dream Machine , Phonophani’s ‘Animal Imagination’ seems to work away at the edges of our consciousness until some magical transformation takes place. Half of the experience comes from him and the rest from us. The result is remarkable by any standards.

Animal Imagination

Buy CD/2LP

Phonophani - Deep Learning (from the upcoming album Animal Imagination)

Aagoo is very pleased to release “Solitary Universe,” a photo book and full length CD by Eraldo Bernocchi and Japanese ambient guitar player Chihei Hatakeyama—five gorgeous, stretched out compositions that will make you feel like you’re trying to catch smoke, or watching fog swirl then disappear across a body of water. The recording is just two treated guitars, and will be coupled with a photo book by visual artist and graphic designer Petulia Mattioli and Yasushi Miura, a Japanese musician and photographer whose work is based on the concept of using easily available tools, like a Nintendo DS, or iPhone, or freeware programs, for example.
Eraldo Bernocchi is an Italian composer, producer, record label owner, and guitarist. He started his career in the late ‘70s as a guitarist in punk bands, and in the mid ‘80s Eraldo co-founded the conceptual audio project Sigillum-S (with Paolo Bandera and Luca di Giorgio), which grew into a highly acclaimed international cult act. In the ‘90s, together with his wife Petulia Mattioli, Eraldo established Verba Corrige Productions, and has collaborated with numerous artists including Mick Harris (SIMM, Black Engine), Bill Laswell (Somma, Charged, Ashes, and numerous others), Nils Petter Molvaer, Harold Budd, Russell Mills, Toshinori Kondo (Charged), Raiz, Almamegretta, Spectre, Sensational, DJ Disk, Professor Shebab, Thomas Fehlmann, Zu (as Black Engine), DJ Olive, Markus Stockhausen, Giovanni Lindo Ferretti (as producer and author), Robin Guthrie, Colin Edwin, and Balazs Pandi, among many others. Uniquely, Eraldo is also known for being invited to play and organize several special events for H.H. The Dalai Lama in Italy. In 2008 Eraldo founded RareNoise Records based in London, where he currently lives.

Chihei Hatakeyama is a sound artist and musician who lives in the outskirts of Tokyo. He has performed for years under his given name, and also as one half of the electroacoustic duo Opitope, along with Tomoyoshi Date. He has released records on Kranky, Room 40, Under The Spire, Hibernate Records, Magic Book Records, Home Normal, Own Records, and Spekk (as Opitope).
Petulia Mattioli is a polyhedric visual artist working with video, digital photography, graphics, installations, and live multi/visions. She has shown at Palazzo delle Papesse Contemporary Art Center, Siena, Italy; Berliner Kunstsalon, Berlin, Germany; SeeMe Exhibition Space, New York, USA; Palazzo Ducale, Genoa, Italy; and Galleria Giulia Contemporary Art Gallery, Rome, Italy, among others. She has designed albums for such labels as Subrosa, Shitkatapult, Universal, BMG, RareNoise Records, Palm Pictures, and many more. She currently lives in London.

Eraldo BernocchI & Chihei Hatakeyama -  Those Glorious Days

The original version of 'Romantic Threat' from the album 2017 Pinkcourtesyphone album 'Indelicate Slices' (room40, Australia), plus two unreleased "B-sides" for your hazy listening. a surprise BANDCAMP EXCLUSIVE! 

This original version was deemed 'too romantic and positive' for full inclusion on the album so it was reworked and edited down to 2:57 of Negative Mood Music from Los Angeles. Now with over 10 extra minutes of romance.

released June 18, 2018 

formed and recorded by Pinkcourtesyphone / Richard Chartier, mid 2017-2018. 

Richard Chartier is published by Touch Music/Fairwood Music Ltd

Romantic Threat EP

Romantic Threat (original & overextended)by PINKCOURTESYPHONE

Delia Derbyshire - Sea

"Pro durachka"
Music, lyrics by Yegor Letov \
Kirill Shirokov's transcription for The Same Ensemble.

Performed by The Same Ensemble (Sasha Elina, Kirill Shirokov).

22.01.2019

"Pro durachka" \ Music, lyrics by Yegor Letov \ Kirill Shirokov's transcription

Carl Oesterhelt "Eleven Pieces for Synthesizer"
LP & Digital © 2019 Umor Rex Records
www.umor-rex.org

Umor Rex presents Eleven Pieces for Synthesizer, a collection of synth instrumentals by German composer Carl Oesterhelt. Oesterhelt has been recording a mixture of straddling kosmische and classical traditions for years on his own reel tape machine, overdubbing stacks of analogue gear to create a compelling body of work that brings fresh emotional depth and rhythmic experimentation to the syntax of the modern synthesizer.
 
Born in Munich in 1968, Carl Oesterhelt has worked in a variety of fields throughout a long and impressive career. His discography includes tenures with Neue Deutsche Welle legends FSK, intellectual disco outfit Merricks, and German legends The Notwist. His solo work has travelled even further and wider, taking in contemporary classical and chamber music, music for exhibitions and radio plays, not to mention notable collaborations with saxophonist Johannes Enders and legendary founding member of Faust, Hans Joachim Irmler. 
 
Oesterhelt augments his own analogue arsenal with synthesizers borrowed from musician friends, resulting in almost fifteen different synthesizers –some in fruitful states of disrepair– which feature on the album. Opener “La chapelle de Francis Lai” pays tribute to the French film composer with a synthesized church organ procession, disintegrating kraut-funk-noir which emerges on “Poro Secret Society”. Then, eerie sound effects mash with minimal techno rhythms on “Makonde Pattern”, and –most surprisingly– Oesterhelt turns his keys into a sub-Saharan drum ceremony on “Trinidad Pattern”. The sheer range of Eleven Pieces for Synthesizer is an impressive achievement unto itself. Yet it is Oesterhelt’s instincts as a composer which make these (largely improvised) recordings so compelling. Tensions build and emotions stir throughout each piece with a proficiency perfected through his work for the stage.
 
Musically associates, and directly connected to a heritage of German electronics, Eleven Pieces for Synthesizer touches upon similar ground to the likes of Musik von Harmonia in its pulsations, Klaus Schulze’s sonically adventurous Cyborg, and Tangerine Dream at their earliest and most primitive. The hypnotic ritualism of early African field recordings, or the spiritual regality of European organ music also convey key reference points in the formulation of this collection. Oesterhelt’s compositions here have taken the musically primitive and the emotionally raw, and woven them into a rich synthetic soundworld all of his own.

Eleven Pieces for Synthesizer

Buy LP & DL

Carl Oesterhelt — Simple Theme

BUY AT: alexhaas.bandcamp.com/track/the-woods

The Woods is a single from the upcoming album 'Lithium' by @alex-haas-955682367.

Alex Haas (born 1963, NYC, USA), label owner of Sonicontinuum, has been working with many renowned artists including U2, Brian Eno, Eric Clapton, Kronos Quartet, Pat Metheny and Bill Laswell. His first collaboration with Dutch composer Michel Banabila started in April on Collector, a track from Banabila's album Uprooted (Tapu Records / 2019). They then decided to renew their collaboration on The Woods, and Alex invited his long time collaborator, Bill Laswell, to join this recording.

The Woods became an atmospheric organic blend of experimental ambient, 4th world exotica and lush electronics: synths and treated guitars by Alex Haas are mixed with Banabila's electronically processed voices, keys and field recs, together with spacey bass sounds by Laswell. Mixed and produced by Alex Haas. Mastered by Marlon Wolterink.

Alex Haas: synths & treated guitars.
Michel Banabila: voices, keys & field recs.
Bill Laswell: bass.

Photo and design: Alex Haas.
Mixed and produced by Alex Haas.
Composed by Alex Haas & Michel Banabila.
Mastering by Marlon Wolterink / White Noise Studio.

Catalog nr. AHS30917.
2019 © Sonicontinuum.
ISRC: QMBZ91910100.
UPC: 194491426477.

alexhaas.com
sonicontinuum.com
banabila.com
billlaswell.net

Lee Ranaldo Ambient Loop For Vancouver (excerpt) Christian Marclay, Alan Licht, William Hooker CD

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