"'Nova Llum' unfolds and morphs through 9 tracks of contemporary Ambient bliss... Shimmering fractals of ASMR, combined with Illbient laced electronics & drums - all combine for the perfect modern Balearic flotation tank"

Original Cassette released via @goodmorningtapes

Bandcamp

Centro Gris (from 'Nova Llum' LP)

EP -->> https://xpqsound.bandcamp.com/album/accepting-eentropy-loss
XPQ?66 

passing through moment, club zone, soundstack, crowd, pixelated dreams -- algo-assisted navigators -- paul feyerabend, lydia lunch, george lewis, björk, arvo pärt, miglė, car-park ravers, andrea covington and glen21

June 2021 @xpq3000

Passing Through

Earwitness

12" PURCHA$E

PLIB019 - Joyul - A2. Marginalia

🇺🇦 support

never forget

distortions, inversions of all this chamber made music to replace nightlong shakings between white or red horrors, fermented words; an imperfection being committed, beneath helpless intoxication, searching for a safe side of distance, libera, dreadful mourning. a spark of hope to all, bearing in mind a massive silence to be stopped by cheering from all around. 

when russia invaded ukraine it altered everything. writing music in these troubled days, during these historical events has become more sublimated than it has ever been; habitual leisure has been replaced by volunteering, the territorial defense of hometown, or the front line in the army. despite everything, music remains a significant part of our lives and continues to be the voice of history, communication, time, and memory. 

all revenues go to the ukrainian charities and defense forces.

cover designed by ratx.cc 
mastered by all options

dj snork - 6aron 247

mix for @infaant on IPR, thanks
internetpublicradio.live/shows/infant

hew for infant 4.24.22 IPR

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)

when you sing and tears come through 
moments to capture
moment to refeel

*https://perilazone.bandcamp.com/album/over-me

perila – over me

Глубина Неба - I Miss The NY Glow (For the Fame)

various artists - ugly001 - megamix - 2xcd
limited to 100 copies, st. petersburg, russia 2022.
https://ug1y.bandcamp.com

13 - Audio 0006

Weird Erotic Tension

An online community featuring sensual podcasts: spoken word, poetry, ASMR, field recordings, and explorations of sonic sexuality.

perila – over me

WET

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