Taken from the album 'Mind of Winter'.
Release date: February 25, 2022 on Hidden Vibes.

Hidden Vibes on web:
hiddenvibes.bandcamp.com
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anthéne & Simon McCorry - Mind Of Winter

A track from 'Holy'
https://rhucle.bandcamp.com/album/holy

Holy

Simple

On REFLECTIONS OF A GATHERING STORM, I wanted to explore the nebulous sense of instability and insecurity that currently seems to permeate our lives. Sonically, I wanted to make something that felt like it was on the verge of collapse.

Simultaneously, I wanted to acknowledge that insecurity and vulnerability often go hand in hand, and so making myself vulnerable on this recording was an important part of this process. To achieve this, I paired synthesized sounds with recordings of my own voice, attempting to sing.

This work is an effort to acknowledge the underlying vague, imbalanced experience that we seem to be trapped within. Both inwardly and in a broader sense, this intangible, underlying turbulence leaves us teetering on the brink. These tracks attempt to echo this delicate precariousness: as if on the verge of collapse. 

REFLECTIONS OF A GATHERING STORM aims to acknowledge this collective state of collapse, with the hope that maybe just holding it all together is enough.

Reflections of a Gathering Storm

The Thrill Of Approaching Destruction

Not to Speak II

When it comes to recording, 2023 was an odd season, my trip to Sweden was not successful from a recording point of view, then at home I have two main recording locations, Ballinvally and Rosahane Graveyard, for various reasons the recording in Ballinvally was not very successful, however the trips up to the graveyard were much better and I am very pleased with those recordings.  I love the purity of the silence there, the birds even seem to sing more beautifully in the uplands for some reason.  Maybe it has something to do with the air being more thin at altitude.   All these sounds were recorded with Lewitt 440's and usually a Sound Devices MixPre3 recorder.

The Uplands - Morning (1).

Hell Yeah kicks off 2024 in fine style with a new album from Australian producer Dawn Again. Every Dog's Hotel is a dreamy and breaks-driven downtempo excursion the artist has dubbed "pubwave."

Melbourne-based Nick Verwey has been crafting solo and collaborative cuts for the best part of a decade on labels like Houseworx and Enjoyment Division. He operates in a world where danceable grooves are paired with laid-back moods. His lo-fi sound is both sunlit and sunset-ready and is for grown-up crowds who like to get down on rooftops, sandy enclaves, or laidback living rooms. This new album, however, he describes as "pubwave" and was conveyed during lockdown when Nick and his friends were missing their favourite communal drinking spots.

"My friends and I were missing the pub, missing dance floors, missing being able to hang out and have fun," he says before explaining that, at the time, he was listening to a lot of 90s and 00s downtempo chill out by the likes of Heights of Abraham, Pork Recordings, Baby Mammoth and Bullitnuts. He came up with the idea of creating something similar but in his own way, initially with spoken word poetry from his friend over the top, though when it came to recording that never quite worked so it was shelved until later when Nick tried again without the vocals. "The whole project has been more than years in the making. I'm super proud of the end result. I think it still nails the dreamy, Balearic "pubwave" vibe and comes with a gorgeous cover painting by my mate Holly Hunt. It's an old English haunt called the Old Neptune, and what nails the brief more than a pub that is literally on the beach?"

The title track is a welcome opening with leggy breaks and soft shakers encouraging you to sway while gazing up at the melodic stars before 'Foam Party' gets more zoned out with its vaporous chords and gentle drum tumbles. 'Journey Through The Schoonerverse' is a suspensory trip to the clouds with effortlessly loose breaks and painterly synth smears, 'Wonky Friends' has a more weighty but still dubbed out and slow motion house kick and 'Kneverending Knockoffs' keeps the energy rising with raw percussion and acidic twitches that journey through a heat haze on a warm afternoon. Closer 'Backyard Paradiso' is the horizontal finish that washes over you like rays of sun and gently breaking waves to leave you relaxed from head to toe and digital bonus 'Hard Earned Thirst' is an extra chance to luxuriate in Dawn Again's richly layered synths and leisurely breaks.

The superbly welcoming Every Dog's Hotel is a place to pull up, sink a drink, and soak into some lavish and escapist downtempo sounds. 
credits

Vinyl / Download

Dawn Again - Every Dog's Hotel

**Sound is compresses and quite because of soundcloud,SoundCloud recommends exporting at 48kHz when they know it ruins the audio that people work tirelessly on*
Caradon Hill Cornwall UK
Wind and pylons: interference and resonance
Sounds in the wires

Sound Devices 302 D mixer
Zoom F3
X6 contact mics

I harbour a profound appreciation for pylons and wires. It seems to me that pylons are a great example of multifaceted noise.
The Sonic noise above my head out of reach fizzing and crackle in the ether as high voltages zip and zap along the cables. It’s a noisy sound. crispy crackly textures, at once constant and moving, static and dynamic. 

The wind and rain at Caradon hill as every visit are intense and unrelenting, fog obscures the towers, sheep and landscape, closing down my visual field and opening up my auditory perception. I attach my contact mics directly to the wire as the wind whistles off the wires and send vibrational drones that I record and listen to over hours attuning to the rhythms, harmonies and dissonance vibrations.

The natural frequencies of the wire are determined by the integer harmonics of the fundamental. In very long wires such as the wires here reach at their pinnacle 780ft which are also very thick the fundamental is well below one Hertz. As I listen to wind, and tension of the wires as the wind contorts them creating higher harmonic frequencies which fall into the auditory range of humans (I am interested how the sheep and birds perceive these sounds). The very high harmonics become so crowded they cease to have discrete frequencies but rather tend to beat together, creating second-order frequencies of lower pitch. the length of the wire a family of interacting segments, each with its own fundamental within the auditory range sing in the wind. There is a vocal-like quality of the wires vibrating in the wind containing the sound of numerous ‘voices’, each competing for harmonic dominance.

The method of fixing the contact mics is an art in itself with  no single best method. Rather, attunment and knowledge of wing and weather patterns in which different conditions require different methods, which are established by rre-visits and experimentation.

Caradon Hill Transmission Mast Cornwall UK

Ezéchiel Pailhès - Opus 53

A myriad cicadas start calling as soon as the afternoon light begins to fade in Tawau Hills NP, Borneo. Recorded with Zoom F6 and Lom MikroUsi Pro mics. Listen to more recordings I made in Borneo at https://www.youtube.com/playlist?list=PLCRlYmmK1sqrM_BB3xp6quofSq7fYdEPA

Intense Dusk Chorus In The Borneo Rainforest

https://metronrecords.bandcamp.com/album/music-for-baths-vol-i

Music for Baths Vol. I is the debut album from former Georgia resident Early Fern, and the inaugural release from new Métron Records project/sub-label small méasures - which aims to donate funds to organisations and causes of the artists choosing.

Having recently quit their full time job and begun seasonal work on organic farms, Early Fern began a process of reconnection in their own life. Taking the plunge to move away from the stresses of 9 to 5, along with the depression and anxiety engendered by participation in that lifestyle, they began to find a new grounding in remote farm-stays in Florida, Texas, and New Mexico. It was during this process that Early began recording music that mirrors their attempts to become more calm, more present, and more connected to their natural surroundings. It was in these sessions that Music for Baths was recorded.

Baths are a place where people have historically visited to find restoration, both mentally and physically, whilst soaking in the tranquility of water. It thus seemed appropriate that this record be an homage to those moments of calm, and to the process of healing. Indeed we can confirm that these tracks are a fantastic accompaniment to a soothing bath.

Early wanted to use the profits from this release to support an organisation close to their heart. Seeding Sovereignty is an indigenous womxn led collective which seeks to dismantle colonial structures and policies in politics, agriculture, and justice. These songs were recorded on colonised land, and by donating to them Early seeks to undo some of the harm of colonial structures and, in a small way, offset some of the privilege from which they benefit in a colonised nation.

Music for Baths [Vol.I]

Early Fern - Body Yoghurt

The last year has already produced not only an immense amount of [great] music, resulting from isolation, introspection, and experimentation that comes with plenty of time but also a few fantastic collaborations that had an opportunity to flourish as the artists adapted to the new way of working. I think it's no secret that the world post the COVID lockdown is never going to be the same. The ability to work from home has given rise to new remote opportunities while shrinking the geographical barrier to nearly zero. For many ventures, there is no need for local presence, and as a result, access to resources beyond the usual barriers has opened. In this context, Christopher Royal King (a member of a very famous and nearly legendary post-rock band This Will Destroy You) and Nico Rosenberg found themselves collaborating remotely on música para nuevos tiempos, which in itself translates to "music for new times".

Música para nuevos tiempos

Healing

TRACK PREMIERE : Christopher Royal King & Nico Rosenberg - Healing

Jamie combines art practice with electronic sound composition to enable non- anthropocentric readings of post-industrial sites. His experimental practice research methods include multi-sensory technological methods of observation, employing VHF, radio waves, Geiger counters, handmade synths and devices. Alongside using the latest software applications of granular synthesis and spatial audio Jamie creates immersive sound installations and extended electroacoustic/acousmatic compositions.
Jamie is a multi-award-winning artist researcher, has presented his work at International and National symposia and has exhibited and published widely including:

Jamie's work in sound has been broadcasted on Radio 3 Mixing it London (UK) and Resonance  FM  London (UK).Most recently Migration Sounds Oxford University UK,Sites and Memory Project and working with The Freshwater Sounds Archive in collaboration with Dr Jack Greenhalgh Canada Foundation for Innovation.

-Speaker at 6th International Conference of Photography & Theory (ICPT2022) Cyprus EXPANDED VISUALITIES: PHOTOGRAPHY AND EMERGING TECHNOLOGIES
-CAST Cornubian Arts & Science Trust Helston (UK). Test Space: Expositions of practice-led research Symposium.
-Feature on my field recordings on Resonance FM London UK
-Phytogenesis II Provocations of Plants, Philosophy and Photography. International Symposium University of Plymouth, North East Photography collective, Newcastle University. I delivered an academic paper on my practice through the lens of Deleuze.

Caradon Hill Transmission Mast Cornwall UK

Jamie House

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