The Name Of Things [HNL009 | Huinali Recordings]

The Name of Things, 
The act of naming natural elements and human creations through music allows us to go beyond words and return to sensations, pulsations, undulations. This album proposes a rhythmic journey that offers a new look, a new listening on the things of life. The arrangement of the tracks reminds us of a parable: an aerial entrance and exit, and at the depth of its curve percussions give resonance to a primary, primitive relationship to the earth. The three interpretations prolong the sound designations. Adhemar's musical language captures the deep and poetic song of nature and the city, of the inhabitants and the living. 

Text written by Victoire K.


1 - The Name Of Clouds
2 - The Name Of Birds
3 - The Name Of Games
4 - The Name Of Stones
5 - The Name Of Trees
6 - The Name Of City
7 - The Name Of Clouds (Inhmost Cloudy Day Dub Mix) 
8 - The Name Of Birds (Gallery Six Remix)
9 - The Name Of City (The Vision Reels Transcendence)

Produced by Clément Davout aka Adhémar 
Additional Productions by Inhmost, Gallery Six and The Vision Reels 
Mastered by Mattias Fridell, Sweden 
Artwork by Off T 
Released by Huinali Recordings from Jeju Island, South Korea 
Release Date : June 28th. 2021
Full album → https://huinalidub.bandcamp.com/album/the-name-of-things-hnl009

The Name Of Things [HNL009 | Huinali Recordings]

INDEFINITE PITCH | PREMIERE 163

Adhémar - The Name Of Clouds (Inhmost Cloudy Day Dub Mix)
The Name Of Things [HNL009 | Huinali Recordings]

Produced by Clément Davout aka Adhémar
Additional Production by Simon Huxtable aka Inhmost
Mastered by Mattias Fridell
Artwork by Off T

Released by Huinali Recordings from Jeju Island, South Korea
Release Date: June 28 2021

The Name of Things,

The act of naming natural elements and human creations through music allows us to go beyond words and return to sensations, pulsations, undulations. This album proposes a rhythmic journey that offers a new look, a new listening on the things of life. The arrangement of the tracks reminds us of a parable: an aerial entrance and exit, and at the depth of its curve percussions give resonance to a primary, primitive relationship to the earth. The three interpretations prolong the sound designations. Adhémar's musical language captures the deep and poetic song of nature and the city, of the inhabitants and the living.

Adhémar
@adhemarmusic
https://adhemar.bandcamp.com
https://formaviva.com/adhemar
https://www.facebook.com/adhemarmusic

Inhmost
@inhmost
www.facebook.com/Inhmost-1700392193609567
www.instagram.com/s.huxtablemusic

Huinali Recordings
@huinalidub
https://formaviva.com/huinali-recordings
https://www.huinalidub.bandcamp.com
https://www.facebook.com/huinalidub
https://www.instagram.com/huinalidub

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@indefinite-pitch
https://www.indefinitepitch.com
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https://www.discogs.com/user/Indefinite.Pitch

The Name Of Things

The Name Of Clouds (Inhmost Cloudy Day Dub Mix)

Buy & Support

PREMIERE: Adhémar - The Name Of Clouds (Inhmost Cloudy Day Dub Mix) [Huinali Recordings]

Adhémar - The Name Of City (The Vision Reels Transcendence) 
The Name Of Things [HNL009 / Huinali Recordings]

Produced by Clément Davout aka Adhémar
Additional Production by Adam O'Hara aka The Vision Reels
Mastered by Mattias Fridell
Artwork by Off T.
Released by Huinali Recordings from Jeju Island, South Korea
Release Date : June 28th. 2021

The Name of Things,
The act of naming natural elements and human creations through music allows us to go beyond words and return to sensations, pulsations, undulations. This album proposes a rhythmic journey that offers a new look, a new listening on the things of life. The arrangement of the tracks reminds us of a parable: an aerial entrance and exit, and at the depth of its curve percussions give resonance to a primary, primitive relationship to the earth. The three interpretations prolong the sound designations. Adhemar's musical language captures the deep and poetic song of nature and the city, of the inhabitants and the living.

Text written by Victoire K.

The Vision Reels (Devon, U.K)
https://soundcloud.com/thereelvison
https://www.facebook.com/Thereelvision
https://www.instagram.com/thevisionreels

Adhémar (Brussels)
https://soundcloud.com/adhemarmusic
https://www.facebook.com/adhemarmusic
https://www.instagram.com/clement_davout

Huinali Recordings
https://soundcloud.com/huinalidub
https://huinalidub.bandcamp.com
https://formaviva.com/huinali-recordings

Oslated.
http://www.oslated.com
https://soundcloud.com/oslated
https://oslated.bandcamp.com
https://formaviva.com/oslated

The Name Of City (The Vision Reels Transcendence)

Support & Buy

Adhémar - The Name Of City (The Vision Reels Transcendence) [Huinali Recordings]

Adhémar - The Name Of Birds [Huinali Recordings]
Catalog - HNL009
Release Date - 28th. June 2021
Format - Digital
Artwork - Off T & Adhémar

Support & Buy - https://huinalidub.bandcamp.com/album/the-name-of-things-hnl009
Mastering By - Mattias Fridell

-
Label on Facebook - https://www.facebook.com/huinalidub
Label on Soundcloud - https://soundcloud.com/huinalidub

Artist on Facebook - https://www.facebook.com/adhemarmusic
Artist on Soundcloud - https://soundcloud.com/adhemarmusic

-
https://www.facebook.com/Hadalresonance
https://www.instagram.com/hadalresonance/
https://www.youtube.com/channel/UCLcxxn-vhZDM_hCVOcuFx0Q

Adhémar - The Name Of Birds [Huinali Recordings]

Adhémar - The Name Of Things [HNL009]

01 The Name Of Clouds
02 The Name Of Birds
03 The Name Of Games
04 The Name Of Stones
05 The Name Of Trees
06 The Name Of City
07 The Name Of Clouds (Inhmost Cloudy Day Dub Mix)
08 The Name Of Birds (Gallery Six Remix)
09 The Name Of City (The Vision Reels Transcendence)

The Name of Things,
The act of naming natural elements and human creations through music allows us to go beyond words and return to sensations, pulsations, undulations. This album proposes a rhythmic journey that offers a new look, a new listening on the things of life. The arrangement of the tracks reminds us of a parable: an aerial entrance and exit, and at the depth of its curve percussions give resonance to a primary, primitive relationship to the earth. The three interpretations prolong the sound designations. Adhemar's musical language captures the deep and poetic song of nature and the city, of the inhabitants and the living.

Text written by Victoire K.

Produced by Clément Davout aka Adhémar
Additional Productions by Inhmost, Gallery Six and The Vision Reels
Mastered by Mattias Fridell, Sweden
Artwork by Off T
Released by Huinali Recordings from Jeju Island, South Korea
Release Date : June 28th. 2021

Adhémar (Brussels)
https://soundcloud.com/adhemarmusic
https://www.facebook.com/adhemarmusic
https://www.instagram.com/clement_davout

Huinali Recordings
https://soundcloud.com/huinalidub
https://huinalidub.bandcamp.com
https://formaviva.com/huinali-recordings

Oslated.
http://www.oslated.com
https://soundcloud.com/oslated
https://oslated.bandcamp.com
https://formaviva.com/oslated

The Name Of Things [HNL009]

Adhémar - The Name Of Things [HNL009] (Snippets)

READ > https://inverted-audio.com/premiere-adhemar-the-name-of-trees

South Korea's Huinali Recordings (@huinalidub) line up their next release from Brussels-based producer @adhemarmusic. Our pick ‘The Name Of Trees’, an ode to the forest, is awash with heady ambiance and trancelike rhythms.

Adhémar - The Name Of Trees [Huinali Recordings]

READ > https://inverted-audio.com/premiere-alva-noto-hybrid-oval-hadron-ii/ 

The inimitable @Noton-info label's only release of 2021 comes courtesy of @AlvaNoto, with his 'HYbr:ID Vol.1' album, a collection of music composed for a choreographic piece performed by the Staatsballett Berlin in 2019.

HYbr:ID Ⅰ

Alva Noto - HYbr:ID oval hadron Ⅱ [NOTON]

Extract from 'Image Langage' (SP140)
Out June, 24th 2022 on 2xLPs, CD, digital download.

Order: https://feliciaatkinson.bandcamp.com/album/image-langage

—
Opening the window, I look at the light, it connects me to something more vast.

Felicia Atkinson’s music always puts the listener somewhere in particular. There are two categories of place that are important to Image Language: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record—Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy—the landscape is what is waiting for you when you leave the house, and vice-versa. Each threatens—or is it offers, kindly, even promises?—to dissolve the other. Recognizing the normalization of home studios these days, she revisited twentieth-century women artists who variously chose, and were chosen by, their homes as a place to work: the desert retreats of Agnes Martin and Georgia O’Keefe, the life and death of Sylvia Plath. Building a record is like building a house: a structure in which one can encounter oneself, each room a song with its own function in the project of everyday life.

At times listening to Image Language is immediate, something like visiting a house by the sea, sharing the same ground, being invited to witness Atkinson’s acts of seeing, hearing, and reading in a sonic double of the places they occurred. In an aching moment of clarity in “The Lake is Speaking,” a pair of voices emerge out of the primordial murk of piano and organ, accompanying the listener to the edge of a reflective pool that makes a mirror of the cosmos. “I open my feet to fresh dirt, and the wet grass. I hold your hand. You hold his hand. In the distance without any distance. The comets, the stars.” At other times, listening to Image Language is more like being in a theater, the composition a tangle of flickering forms and media that illuminate as best they can the darkness from which we experience it. On “Pieces of Sylvia,” a noirish orchestra drones and clatters beneath and around a montage of vocal images, stretching the listener across time, space, subjectivities. Atkinson says that Image Language is like the fake title of a fake Godard film. There is indeed something cinematic about Atkinson’s work—not cinematic in the sense that it sounds like the score for someone else’s film, but cinematic in the sense that it produces its own images and language and narratives, a kind of deliberate, dimensional world-building in sound.

Image Language is built from instruments recorded as if field recordings, sound-images of instruments conjured from a keyboard, instruments Atkinson treats like characters, what she calls “a fantasy of an orchestra that doesn’t exist.” And then, speaking of Godard, there are the monologues, operating as both experimental-cinematic device and a literary style of narration. Voice can be a writerly anchor or a wisp of a textural presence. Atkinson’s capacious and slippery speech plunges into and out of the compositional depths, shifting shapes, channeling the voices of any number of beings, subjectivities, or elements of her surroundings—not unlike her midi keyboard, able to speak as a vast array of instruments.

Image Language is an environmental record, in the vastest sense of the world. It is about getting lost in places imagined and real; it registers, too, the dizzying feeling of moving between such sites. It puts forth a concept of self that is hopelessly entangled with the rest of the world, born of both the ache of distance and the warmth of proximity.

— Thea Ballard, 02.2022

Image Language

Becoming a stone

FELICIA ATKINSON 'Becoming a Stone' (SP140)

from KR096: GIULIO ALDINUCCI - Real 
out on october 14th 2022 as 180gr LP / tape / DL

Real

GIULIO ALDINUCCI - Asymptotic Embrace

In the blue heavens
Scattered from dust - an ancient blow

Uninvited flames of the altar
Run over the wings
Of the butterfly spool

Meter by meter, loose
Landed on the hands of tower

The sky limits no air
Illusions of ear and throat.

An eternal liminality amidst of the fading blaze - sunset speaks so much of  light. Adorned by the dust-covered sundial, a candle being blown out since the crack of dawn. First, the hour hand and the minute hand - chime rods clang without touch. To remember: the core of arousal. The body / as foliage / as traverses too ceaseless to bring up the rear.

‘Butterfly Tongues More Ancient Than Flowers’ is the grandeur revival of early electronic era in the personal and subtle twists of a rethought perception of time. For the same reason, the matter simply drifts through it—not itself, but its own persistence. Copenhagen based artist - øjeRum maintained the reminiscence of rending impulses and rhythmic formations at the turn of provoking co-existing worlds, laid bare in the sempiternal totality.

Butterfly Tongues More Ancient Than Flowers

øjeRum - Recurring Dream of Coiled Organisms in the Sky

On her third album, Berlin-based Dutch-Italian composer and sound designer Aimée Portioli, aka Grand River, asks what guiding forces might be driving, enticing, and affecting us. “All Above” is rooted in her deeply personal philosophy as an artist, blurring the boundaries between electronic music and acoustic music and sculpting familiar ambient forms into personal themes painted with rich emotional colours. Written painstakingly over the last two years, the album is the most ambitious and divergent set of music Portioli has assembled so far, with a wide variety of instrumentation (including voices, strings, organs, guitars, and synthesisers) focused around the piano. She‘s keen to assure listeners that while that instrument isn‘t always heard, it‘s constantly at the forefront of the album, shepherding its emotions and anchoring its mood. It makes sense then that on the opening track ‘Quasicristallo’, the acoustic piano is the first element we hear, recorded closely, so its characteristic rattle and creak can speak as loudly as the familiar tones themselves. When the music blooms into abstraction and processed electronics, it‘s almost imperceptible: reverb mutates into ghostly vapour trails, and distortion forms the keys into another instrument entirely.

“All Above“ follows 2020‘s acclaimed “Blink A Few Times To Clear Your Eyes“ and 2018‘s “Pineapple” released on Donato Dozzy and Neel‘s Spazio Disponibile imprint. Having garnered praise from outlets like Resident Advisor, XLR8R, The Quietus, Inverted Audio, and The Verge, Portioli operates in a unique space within the electronic music scene, straddling the art world and the wider electronic music scene. She‘s developed sound art installations for Rome‘s La Galleria Nazionale and the Terraforma Festival-related Il Pianeta, and has appeared at Barbican, MUTEK, Le Guess Who?, Kraftwerk, and other internationally renowned venues and festivals, often collaborating with Marco Ciceri on A/V presentations. Ciceri also maintains the visual identity of Portioli‘s label One Instrument, a concept imprint that asks artists to create music only using a single device. All this experience is poured into “All Above”, a richly visual album that‘s far more than just an imaginary film score. While on ‘Human’, her piano punctuates a rhythmic synthesised bassline and smudged choirs that can‘t help but trace out the silver screen. The composer is keen to clarify that she doesn‘t think of her music (or sound in general) in visual terms.

Portioli studied as a linguist and used her art to develop an emotional language that‘s not bound by expected cultural constraints. When she adds a different instrument or process, it‘s not to reference a visual cue but to mark a journey through different states of being. Each element embodies a different emotion or mood: the electric guitar represents strength or violence, synthesisers shuttle us into the dream world, and the acoustic instruments highlight intimacy and warmth – even heart. Read like this, the tracks are like meditative poems rather than cinematic vignettes.

Dedicated to Editions Mego founder Peter Rehberg, who died suddenly last year, “All Above” demands engagement and refuses to evaporate into the background. The album asks listeners not just to absorb the album as a whole but notice the cracks in the structure and discern the tension they cause. That‘s never more evident than on the closing track ‘Cost What It May’, a piece of music almost jarring when Portioli chops into noisy waves of electric guitar. In the wrong hands, this might sound like a power move – some rock posturing to act as a finale. But Portioli‘s expression is different. She‘s forcing a level of engagement that perceives the negative space as just as necessary as the saturated positive, and what could be more haunting and emotionally resonant than that?

All Above

Human

Grand River 'Human' (EMEGO308)

~ LAAPS 025 ~ [SEQ.04 - LP25]

artist : Arovane
 album : Sinter
duration : 39.29 mn
 date : January 23rd, 2023

edition :
-  vinyl : limited to 300 copies / black LP / pantone / hand numbered 
- cd : limited to 200 copies / hand numbered + handcrafted, sealed

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pre-order : January 05th, 2023 / official release : January 23rd, 2023
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Written and produced by Uwe Zahn.
Recorded and edited at Saale Studio.
Track 03. Konstant is dedicated to Taylor Deupree.

Mastered by Taylor Deeper (12K)
Artwork by Marco Cadioli
Design by Sprflxgrfzm

----------------------------------------------------------------

Links :
https://laaps-records.com/
https://arovane.bandcamp.com/

----------------------------------------------------------------
℗ & © 2 0 2 3 - L A A P S - L A A P S 0 2 5

Sinter

Arovane - Konstant

From the album Palimpsests (Shelter Press, 2021) 
https://andrewpekler.bandcamp.com/album/palimpsests

Buy on Bandcamp

Andrew Pekler & Giuseppe Ielasi – Ravenna

Stardust Serenade

Sarah Davachi (CA) @sarahdavachi
Thursday June 2, 2016 - Musée d'art contemporain de Montréal (MAC)
Mastered by @Pheek

WHO: Vancouver, now Montréal-based musician, composer and musicologist Sarah Davachi
STYLE: Minimal electronic and electroacoustic compositions, synthesized ambient sonics of a bygone era, extended drones and harmonic textures
LATEST WORK: Barons Court (2015), Qualities Of Bodies Permanent (2015), neustadt/altstadt EP (2015), Σ = 4 (2015)
LABELS: Students of Decay @studentsofdecay, Constellation Tatsu @constellationtatsu, Cassauna
MORE: Holds an MFA in electronic music and recording media from Mills College in Oakland, California and works for the National Music Centre in Calgary as an interpreter, researcher and archivist of their collection of acoustic and electronic keyboard instruments

Making her MUTEK debut last festival, Vancouver now Montréal-based composer and synthesist Sarah Davachi, turned in a gorgeous sweep of richly emotional electronic harmonics and textures. This is the live recording of her delicate and elegiac set.

Full bio: http://www.mutek.org/fr/fm/podcasts/muteklive/735-muteklive112-sarah-davachi


MUTEKLIVE112 - Sarah Davachi

P.L.U.R.

Time Swim

Building a sonic landscape little by little, with the passing of sound transformations and their luminous quality.

Contact/Booking :  adhemar.davout(at)gmail.com

AXOON
DIFFERENT PERCEPTION _ out now

GLKS1
ALTERNATE _ out now

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