World's Ambient

Growing Eternal (feat Fanika)

Desire was made in dialogue with African, European and pop artists from around the world for Norient Sounds exhibition «Seismographic Sounds – Visions of a New World». The exhibition was hosted by museums and festivals in Germany, Switzerland and the UK (ZKM Karlsruhe, CTM Berlin among other places)

VIMEO: https://vimeo.com/137019344

DESIRE

track for Onmyōdō Cassette compilation World's Ambient out now on 4xCD and digital https://onmyodocassette.bandcamp.com/album/worlds-ambient

worlds-ambient

samentta (Onmyōdō Cassette comp (cd/dl))

Made a song for @onmyodocassette compilation "World's Ambient"
Available at https://onmyodocassette.bandcamp.com/album/worlds-ambient

ange sur notre épaule

From "World's Ambient," the new Onmyōdō Cassette compilation https://onmyodocassette.bandcamp.com/album/worlds-ambient

Art by Euglossine & Sunmoonstar

Onmyodo compilation

Green Sanctuary

I've joined to a very huge compilation album called World's Ambient by Onmyōdō Cassette. There're 65tracks. Artwork by Euglossine & Sunmoonstar.
 
Digital $6.5/Limited CD $15.
https://onmyodocassette.bandcamp.com/album/worlds-ambient

The Color Reversal Film

https://onmyodocassette.bandcamp.com/album/worlds-ambient

Cointreau

COLOR SQUAD RECORDS 090/ALB026

https://colorsquadrecords.bandcamp.com/album/void-folder

CSR090 - S̸t̀҉͞r̴̢a̵̡͡n͜͠g̀͘e M̡ea̸t̷ - Void Folder -  Sovum - Hlit

Greg Fox - From The Cessation Of What

From Contact.
Learn more here: https://smarturl.it/rvngnl59

https://www.igetrvng.com

Contact

From the Cessation of What

Greg Fox - From The Cessation Of What

@ https://soundcloud.com/karlfousek

Established as a key voice in modern synthesizer music, Karl Fousek’s focus lies on the sense of movement inherent in his modular. And it is indeed ‘movement’, along with its close cousin ‘time’, that seems to inform the pure experimentalism with sound generated on Another Use For Time. Fousek’s tones flurry back and forth across and inside each other, with the Canadian composer oscillating between the macro and micro gestures of his instrument to create a sonic sculpture in constant motion. Fousek himself describes it as an album made in transition: “It's kind of a reflection of my past work and taste and techniques, while also trying to move forward.” 

Unusually for Fousek, these three pieces were recorded at separate times, straddling a period of transition as the artist left Montreal to move back west to Vancouver. 

The album’s opening 18-minute exploration, ‘What Was Once Or Twice’, was recorded in Seattle, and is split into two movements. The first sees Fousek introduce a variety of whooshes, bleeps, and frozen tones, and the second sends them spiralling out of control, and receding back into the outer reaches of his setup, short circuiting and colliding into mind bending new forms that seem to fold space-time. The entire piece is built around a custom software delay network that “reacts automatically and changes itself based on the incoming signal”. 

The brief interlude at the centre of the record – ‘Circling’ – dates further back to 2016 and deploys those embryonic delay techniques Fousek would later develop, while the second two-parter dates to Montreal in 2018. Constructed from noisier jams, “Time For Another User” is dense with ideas; an attempt to make a “classic” electroacoustic composition devoid of narrative and structure. Algorithms and spontaneity are deployed to encourage maximum disruption, making it a sonic smorgasbord that rewards close listens. Every modest, Fousek views it differently. “Hopefully,” he says, “it just floats by.” 

credits
releases May 1, 2020 

What Was Once Or Twice recorded 2019 at The Chapel, Seattle. Circling recorded 2016, Montreal. 

Time For Another User recorded 2017-18, Montreal; Philippe Vandal contributed additional synthesizer. 

All tracks compiled, edited and mixed 2020 at Deep Blue, Vancouver. 

Mastered by Josh Stevenson at Otic Sound. 

Artwork by Maurizio Vicerè from the HOLOGRAMS series. 
www.akavice.com

Another Use For Time

_ph002 Karl Fousek - What Was Once Or Twice Part 1

Ever Empty

My brass arrangement of Beret Girl by Bibio:
Trumpet
Piccolo Trumpet
Flugelhorn
Valve Trombone

Beret Girl (Bibio) - Brass Cover

Composed in 2020.
Commissioned by 840 Series, for their 5th anniversary concert, 
with funds provided by Arts Council England, Richard Thomas Foundation, Hinrichsen Foundation and RVW Trust.
Performed by Juliet Fraser (soprano), Colin Alexander (cello), Stephanie Tress (cello) and Peteris Sokolovskis (cello).
Live recording of 1st performance, at Cafe Oto, London on 
31 January 2020.

European Towns

Music for Cello and Humming is available at https://blankforms.org/publication/judith-hamann-music-for-cello-and-humming-cd/

For her first album releases as a soloist, nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her CD, Music for Cello and Humming, features two pieces for cello and humming written specifically for Hamann by composers Sarah Hennies and Anthony Pateras alongside Hamann’s own “Humming Suite” and “Study for cello and humming.” Having arisen intuitively from Hamann’s investigations into shaking, just intonation, psychoacoustic phenomena, and the voice in relation to the femme presenting body in performance, humming here also references dislocation, or ventriloquism.  Although teetering on the edge of audibility, the intimate and vulnerable closed-mouth sounding enters into subtle interference with her cello, drifting into acoustical beating and bringing instability to otherwise more formal grid structures. The capacity for rupture of this volatile fragility reaches its apotheosis on Hennies’ “Loss,” a piece that deliberately instructs Hamann to hum beyond the limits of her voice range. Going against the grain of chamber music orthodoxy, the guaranteed failure set in motion by this instruction yields a generative sound of effort reminiscent of Xenakis’ storied desire for an instrumentalist to play with the sorrow of knowing they can’t do everything. With an arc suggestive of sudden life change, “Loss” casts queer epistemology onto composition, positioning failure, undoing, unbecoming, and transforming as alternative ways of knowing or being. Hennies’ signature composite merging of individual components here brings oral sounds that include breathing and coughing together with humming, cello, and sine waves. Like Glenn Gould’s 1982 Goldberg Variations or Pauline Oliveros’ Accordion and Voice, this timbral meeting of bodily utterances with consummate musicianship imbues Hamann’s humming work with a breakable, human strand, here as humbling as it is uncomfortable.

Music for Cello and Humming‘s sister release, Shaking Studies, is also available. Music for Cello and Humming is accompanied by an essay on both recordings by Nora Fulton.

Judith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged in a discourse based project, ‘Materialities of Realisation.’ She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O’Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. Her recorded appearances include Tashi Wada’s Duets, Graham Lambkin’s Community, Alvin Lucier’s Illuminated By The Moon, and Gossamers, with Rosalind Hall.

Judith Hamann - Humming Suite III - Harmonics Étude For One Cello And One Voice

Taken from "Colla (Double Album" 
Coming soon! 30/10/2020

Carlo Giustini - Nella Vasta Brina "Colla (Double Album)" | Lᴏɴᴛᴀɴᴏ Series

universal structure built. love & light
contact@onmyodocassette.com

Green Sanctuary

Inner Travels

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