Name: Core Notions by Jasmine Guffond in Collectedness// September 17, 2021
Duration: 6 min 13 s
Description: from the album YELLOW BELL, Sonic Pieces, 2016

Collectedness// September 17, 2021

From "Microphone Permission" LP, Editions Mego, 2020
https://jasmineguffond.bandcamp.com/album/microphone-permission

An Utterly Dark Spot

Holy Hive

Story Of My Life

‘Horse+ (Don’t Mind The Horse)’ paints the picture of being on the road to somewhere. Whether it be through the desert heat, the cold vastness of outer space, or through the journey of life, it’s good to sometimes take a moment to have a few deep breaths, absorb your surroundings and open your heart.

Buy-link: idol.lnk.to/laika

Laika

Horse+ (Don't Mind the Horse)

The Leveret

The Fervent Widow

as a thank you to all for the support in 2023 <3 

three 'pay whatever' tracks from a new maps and diagrams album [Islands] - 2024

https://handstitched.bandcamp.com/album/islands

thanks for listening xx

Jura

Chorale

Marco Lucchi, based in Modena, Italy, and Henrik Meierkord, based in Stockholm, Sweden, have a lengthy collaboration to their reciprocal credit, and they accomplish it far and near alike. A testament to the interplay of their work together is that a listener might be hard-pressed to discern which of their recordings are the result of long-distance file-trading, and which occurred when the two managed to be in the same place at the same time.

Several aspects of their respective music-making serve them well as creative partners. First of all, both tend toward the ambient, given as they are generally to a slow pace and to a sensibility that manages to be at once radiant and intimate. Secondly, while both are multi-instrumentalists, there is a complementary nature to their specialties, Lucchi being more of a keyboardist, Meierkord more of a string player. Thirdly, and perhaps most importantly, they are both immersed in techniques drawn from electronic music.

In particular, both men are experienced with live multitrack recording, in which they process and layer their own performances in real time. Meierkord is fond of layering sinuous tones to create scenarios of unique dimensions. It becomes uncertain — even unimportant — to the listener what preceded what, so intricate is his deployment of interplay. Lucchi likewise finds parallels between classical orchestration and the opportunity for drones lent by modern synthesizers; in a small room he can create a vast space. There is often an oceanic depth to such efforts, part composed and part improvisatory, in which playing is a tool toward composition, rather than the other way around.

Throughout their new record, there is an underlying melancholy, a nostalgic beauty, and a reflective consideration — a virtue that is foundational to their ongoing collaboration. The result is particularly rich in plaintive scene setting, as on the glacially paced “La bestia umana,” which emerges from a neighborly field recording of a dog barking, and “Kosmisk Strålning II,” which maintains a dream-like quietude, more shadow than light. One “Like tears in rain”, what sounds like a synthesizer is, in fact, a piano, a recording of which has been stretched beyond the point of it being readily identifiable.

On first listen, their leaning toward unimpeachable steadiness can seem uniform, but listen more closely and you’ll recognize how explicitly they emote on a track like “The Third Stage,” due not just to the reaching melodic surges (which, in turn, match the sampled recordings of bird calls) but to the slight discordances that suggest trouble and tension. In a different manner, there is “A warm and golden October,” which balances breaking-dawn hush with piercing overtones. That track features a motif at the end, played on a celesta; those bell-like tones edge the piece out of dreaminess without entirely breaking the spell.

The greatest outlier — dog barking notwithstanding — may be on “Oändlig,” not just for its fierce pulse, but because of its more immediately electronic vibe. “Oändlig” is an exceptional piece, bringing to mind the minimalism of Terry Riley and the rave classics of Underworld.

Marc Weidenbaum 


Produced and mixed by Marco Lucchi and Henrik Meierkord
Marco Lucchi: mellotron, piano, celesta and synthesizers
Henrik Meierkord: cello, viola, zither, piano, organ and FX
Mastered by Dionis Afonichev (Dionisaf)
Cover picture by Dionis Afonichev (Dionisaf) with AI
Artwork and cover design by Dionis Afonichev (Dionisaf)

https://www.chitrarecords.com

Lieder Ohne Worte

Warum

On June 14th 2024, Shuoxin Tan and Congee Rats will give a concert at Honigfabrik in Hamburg. Here is a trailer of this concert with two solo sets.

Shuoxin Tan: https://mewithoutnara.bandcamp.com

ShuoxinTan x CongeeRats Concert Trailer (in German)

The cormorant in the forest;
The cherry blossoms
Along the evening path.

Tan Taigi was a haiku poet of the Edo period. He was a wanderer for most of his life and admired by Yosa Buson for his ability to transcend his eclectic and unconventional lifestyle with sublime poetry.

haiku by Tan Taigi

The cormorant in the forest (naviarhaiku539)

from the album YELLOW BELL, Sonic Pieces, 2016

Core Notions

Serge & Mondriaan

US-born, Stockholm-based minimalist artist and apprenticing organ tuner Kali Malone gave a special organ performance in TivoliVredenburg's Grote Zaal as opening of Le Guess Who? 2019. The performance was part of The Bug's curated program for the festival. 

We can now share two exceptionally beautiful pieces from the performance: 'Sacrificial Code' and 'Glory Canon III'. Both are deeply immersive and mesmerizing tracks, drawing in listeners with Kali Malone's well-known warmth and timelessness.

Captured on Thursday, 7 November 2019, at TivoliVredenburg's Grote Zaal during Le Guess Who? 2019.
Recorded and mixed by Marc Broer & Philip ten Brink.
Photography by Jelmer de Haas.

Kali Malone - Sacrificial Code

Los Angeles Based/Manila Roots Arts and Culture Curator/Programmer, Filmmaker, DJ, & Filipino music and film advocate.

Bookings: MO@MEDIA-LOCA.COM
Electronic composition across music and art contexts.

Core Notions

Jasmine Guffond

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