Vestiges of green and blue, a remnant of what once was, collected in museums of the 21st century and in pages of old marine biology books. 

There is something to be remembered here.

Dedicated to All Breathing Beings.

Janushoved no. 141

Vestiges Of Nature

Internazionale - Vestiges Of Nature

Pan Daijing - Tissues 
Label: PAN
Cat.No. PAN 118
Format: 2xLP / DL
Release Date: 21 January 2022
Purchase: pan.lnk.to/Tissues

Pan Daijing’s exhibition-performance Tissues premiered in the Tanks at the Tate Modern in autumn 2019. A five-part immersion in performance, sound, movement, space, and most of all emotion in its most distilled and conflicted states, Tissues engaged with the conventions of opera and tragedy to present a searing representation of the embattled human psyche in space and time. While the ambitious multi-sensory artwork made use of the range of Daijing’s artistic capabilities, music, particularly the voice, was at its formal and emotional core. The vinyl and digital release of Tissues on PAN serves as a record of that work, in the form of an hour-long, studio-recorded audio excerpt: an invaluable archival document from Daijing’s practice.  
 
Tissues is both a solitary work and a formal study in relation. Composed, directed, designed, written, and performed by Daijing (alongside a cast of twelve dancers and opera singers), the work—its libretto written in a mixture of old and modern Chinese—lingers inside a single human perspective. Daijing conjures states that are by turns delicate and severe, the tension between opposing modes animating the work as it unfolds. And yet, for all its interiority, Tissues foregrounds an intimate relationship with its audience through details like its engulfing visual landscape and its rattling, confrontational narrative arcs. Daijing uses the opera form as a prism through which to question the boundaries of music itself: perhaps, she proposes, music is much more than simply what is heard. It is in the relationship between voice and electronics that this limit is most clearly breached. Across the four parts gathered in this documentation, a counter-tenor, a soprano, a mezzo-soprano, and the artist herself voice a mixture of stunning laments and cries over an instrumental landscape, built out from industrial texture. Meant to be heard in a single listen, rather than track by track, the work unfolds through tender hollows and agitated peaks. At its crescendo, the operatic vocals melt away and the synthesizers themselves seem to howl with grief.
 
Daijing uncovers an essential, sometimes painful, music in all that surrounds us, inviting something like catharsis but also a greater understanding of the thing she and her cast conjure and draw close. A tissue, after all, is both a disposable object one uses to wipe away a tear, and the building block of our fleshy human forms. Daijing reaches and excavates the roiling core of what it is to be alive and full of feeling. 

Music from Tissues, an opera of five acts at Tate Modern, London on Oct 2nd, 4th and 5th, 2019
Composed, written, produced and directed by Pan Daijing. 

Performed by Anna Davidson, soprano ; Marie Gailey, mezzo soprano, Steve Katona, countertenor and Pan Daijing,  additional vocals.
The recording is mixed by James Ginzburg , Jan Urbiks and Pan Daijing, mastered by Rashad Becker. 

@pan-daijing

Tissues

Pan Dajing - Excerpt from Tissues Part Two "A Found Lament"(PAN 118)

"Singe" is the new record by Angelo Harmsworth, a musician who hails from the American Southwest and is operating now out of Berlin. Harmsworth’s work deals resolutely in extremes, but this music is not concerned with presenting binary or dichotomous relationships so much as it is with reconciling disparate sensibilities and sounds. Layers of meticulously edited and sculpted tones swirl around one another, creating kaleidoscopic patterns and hallucinated choral motifs that seem to thrive on amplitude or the position of the listener’s head. There is a visceral physicality to this music that aligns it with some of the core tenets of harsh noise, even while its tonal and timbral choices recall those of ambient music. This record follows excellent releases on enmossed/Psychic Liberation, Angoisse, Opal Tapes, and Harmsworth’s own Lime Lodge imprint and may be the high water mark of his published output thus far. There is drama and implied narrative in these seven compositions that seethes and hums as if reveling in a sort of violent gracefulness. LP/Digital available on 9/30/22.

Aporia (feat. Felisha Ledesma)

Outro (When I Miss Myself)

Disruptive Muzak Clip (out now on Death of Rave)

Taken from the forthcoming album "Printemps-Ete" on In Paradisum, to be released April 11 2016.


After a couple of EPs, qoso reveals his first LP on In Paradisum, a label he joined in 2013 for the Like It Soft EP he cosigned with Low Jack. Charlie Janiaut opens up a third way between physical energy and experiments on sound textures. The producer originally from Franche Comté has dusted his fingers on battle scratch and his playing with computer is totally instinct driven. Playing techno from the viewpoint of rap music, qoso’s music is entirely based on samples and feeds on mistakes, frequency translation and a piling up of effects leaving space to randomness. The tracks on Printemps Ete were composed all at once and speak more to the body than the head - they’re rhythm tracks as stated by Emotional, which opens the record where most electronic albums like to put a nice ambient track. After being compared to Blawan or Levon Vincent by Resident Advisor, qoso is now leaving most references points behind with a syncopated sound that puts some fun into the raw.

Qoso -  Peaches N Cream

Life

22 summer storms, 22 celebrations of music from today. 

Posh Isolation turns 10 this year. 
We celebrated in Copenhagen for three days and three nights - Port Out, Starboard Home. Some people could not 
be there, some forms change — we honour them by celebrating again, digitally. 

Make the day come alive again. 

'Summer Storms' wades through the heat, never quite settling, yet taking in every surrounding. Gather everyone 
together, celebrate a shared motif. 

Come stream with us. 

Clear skies. A raving harbour. The best storms cancel plans. 

Make the day come alive again, 

today. 

Dedicated to Ezra 

Posh Isolation 227

Puce Mary & CTM - Release

Various Artists 'Love Too Can Spread Like Thistles And Wildfire'

Janushoved no. 100

www.janushoved.bandcamp.com/album/love-too-can-spread-like-thistles-and-wildfire

J. Leonhard - Distant Turns Closing In

Liverpool’s @breakwavedj is about to release Carcass the second EP on her newly founded @meinenacht imprint. The offering comes from Belgian producer @obsequies , associated artist of Beurrschouwburg and @shape-platform . Ahead of tomorrow's release you can pre-listen to "Chrysalide" remixed by ssaliva. Furthermore, Thomas Romana has talked to Breakwave and Obsequies.

Check our website for details: https://www.zweikommasieben.ch/en/interview-breakwave-obsequies

Pre-Listen:  Obsequies – Chrysalide (ssaliva Remix)

Patrick Belaga - Blutt 
Format: LP / DL
Cat.No. PAN 117
Release Date: 2 April 2021
Purchase: pan.lnk.to/Blutt

Conceived at the heel of Italy’s boot-shaped peninsula in Apulia, Patrick Belaga’s Blutt makes music for the unruly imagination. The title is an old German word for ‘naked’, ‘bare’, but it can also mean ‘blood’ when spelt blut. Take away another letter and it makes ‘butt’. None of these definitions and adaptations were what prompted the classically-trained composer and cellist to name his second album with a word simulating the sound of a punctured artery. That came later.

Blutt’s nine woozy compositions are inspired by a contemplative road trip with a friend, and the mysterious muffled music heard from an unidentified source. It was a combination of jazz and classical music that haunted Belaga’s wanderings through the Byzantine town Gallipoli, and soon infected his dreams of long-gone civilizations. This record is its outcome, where organic instrumentals and electronic production merge into a sound that’s both contemporary and ancient. Samples of mewing incantations and tape hiss sway atop the waltzing thud of piano chords on “Sigh”. Composite layers of Belaga’s cello play in downcast harmony on “Rust”. There’s a wistful sense for the romantic, in the eerie rhythm of a piece like “Momentum”. The quarter tones of an Eastern European and Middle Eastern folk scale probe a profound melancholy via Kai Knight’s violin. Its notes are haunted by a field recording of running water on “Unsoft”, echoes of panpipes and a Jew’s harp on opener “Lilt”.

As a consummate composer and performer known for his work with artists Wu Tsang, boychild, Josh Johnson and Asma Maroof, Belaga’s Blutt is itself marked by flawless collaborations. Vocalist and instrumentalist Jazmin Romero sings and composes the surreal melodies of “Grey Eye”. Multidisciplinary dance artist and producer Riley Watts contributes to the muted, motorik movement of “The Tunnel is a Tower”. Together, the record plays as a stunning soundtrack to the strangeness of sleeping, and the heartbreaking transience of time. Like an intense dream half-remembered, the emotions persist after waking but for the sharp machinations just outside of the mind’s reach. 
credits

The album is mastered by Rashad Becker, featuring artwork by Giovanni Forlino and design by Bill Kouligas & NMR. 

@patrickbelaga

J. Leonhard - Distant Turns Closing In

Janushoved

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