One of tracks from album "osorezan" (com64)
https://communedisc.bandcamp.com/album/osorezan

Music by Kyosuke Terada 
Mastered by Yasfumi Suzuki 
Photo:Yousuke Fuyama

released 9th June 2022 from Commune disc

osorezan Ⅵ

Live at Echo Festival 2022

Do Not Eat My Friend -- Mantra Version

Mattias Petersson, Triangular Progressions, LP
Release date - 24 February 2023
Catalogue nr. - HG2202
Format - Vinyl / digital

hallowground.bandcamp.com

Tracklist:
1. Triangular Progressions I – V     (20:07)
2. Triangular Progressions VI – IX     (16:10)

Credits:
Composed, mixed and recorded by Mattias Petersson (2019–2021)
Mastered by Andreas Lupo Lubich
Artwork by Laurin Huber 

///
Mattias Petersson debuts on the Swiss label Hallow Ground with »Triangular Progressions,« a suite in nine parts written entirely in the SuperCollider environment using additive synthesis. The starting point for the evocative piece is a magic number triangle that Petersson invented during his early composition studies and which has been an obsession of the artist for over twenty years, previously forming the foundation of many other of his works. By exploring the harmonic progressions found hiding within the triangle, »Triangular Progressions« at once emits a sense of introspective calm that fosters deep listening and evokes a whole spectrum of emotions, mediating between the abstract and the visceral.

The Stockholm-based Petersson, also known under the moniker Codespira1 and for his long-term collaboration with violinist George Kentros as There Are No More Four Seasons, has been active as a composer of computer music as well as an artist in the realms of live coding and modular synthesis for over two decades. Originally trained as a classical pianist, he also holds a diploma in electro-acoustic composition from the Royal College of Music in Stockholm, where he currently works as an associate professor. Besides his activities as a musician and teacher, Petersson is pursuing a PhD in composition at the Luleå University of Technology. Researching modular systems comprising both human and non-human modules, he is part of the GEMM))) Gesture Embodiment and Machines in Music cluster.

»Triangular Progressions« can be considered a perfect synthesis of Petersson’s academic interests and aesthetic ideas, combining a mathematical approach with artistic rigour. The magic number triangle highlights the beauty of symmetrical properties. By exploring its idiosyncrasies, the composer manages to translate them into engaging sounds. The lush melodies and harmonies of the music at times call to mind the intimate organ and drone works by label mates Kali Malone and Maria W Horn while also maintaining a unique signature sound. The addition of pure sinusoidal waves enables a deep listening exploration of the counterpoint between melodic and harmonic rhythms, chord structures and spectral harmonies that Petersson extrapolates from those magic numbers.

Triangular Progressions

MATTIAS PETERSSON - Triangular Progressions I – V (edit) (HG2202)

Jeph Jerman/Ted Byrnes, Passenger

from KR110: An Moku & Stefan Schimdt - Raum im Raum (tape / DL) out on june 16th 2023

AN MOKU & STEFAN SCHMIDT - RiR °2

"Soulcaster" is the third solo record by Brooklyn-based composer/performer Joanna Mattrey. Following Live in Accord and various Notice Recordings-curated performances in the Hudson Valley, this album is a further development in our years-long friendship. With "Soulcaster", Mattrey scrapes, scratches, and wails on viola, prepared viola, and a tromba marina, built by Webb Crawford. Mattrey’s love of unique and unusual sounds has inspired her to alter the pure tone of the viola through preparations with styrofoam, plastic toys, chains, and other objects. But the newest sounds in her arsenal come from the tromba marina, which has one primary playing string and thirteen sympathetic strings. Rather than gently coaxing out the harmonics, as the historical playing style suggests, Mattrey employs a raucous and roaring approach.

The title, "Soulcaster", is borrowed from Brandon Sanderson’s book series, "The Stormlight Archive". In the fantasy series, a soulcaster is an instrument that transforms one object or life form into another. Mattrey’s practice connects heavily to the idea of transformation. She uses preparations and objects not only to create new sounds from her instruments, but to embrace the unknown. No matter how many times the same object has been used, depending on the vibrations on a given day, the preparations might bring out totally different sounds. This randomness creates a joyful challenge for Mattrey, who believes that especially during improvisation, music has its own life that activates and guides the sound forward. Mattrey surrenders to this energetic line of sound over the eleven tracks featured on this tape.

NTR076 - Joanna Mattrey - Soulcaster - [Sing Out]

"Magnet Blues" presents Zhu Wenbo and Zhu Songjie’s unique and utterly bizarre take on American blues, as if filtered through layered variations of darkness. Throughout the recording, we hear barely audible vocals, minimalist, smart, and subtle guitar work, and the folkish atmosphere of what sounds like distant train activity and dying radios. Instrumentation is notable here: Songjie uses the peculiar Casio EG-5 electric guitar, with a built-in cassette deck, while also playing harmonica. Wenbo plays a Fisher-Price toy cassette player, sings, and also plays harmonica. Throughout bursts of noise and rustling midrange timbres, Zhu and Zhu navigate an understated, focused, and dreamlike realm of song and texture.

NTR078 - Zhu Wenbo - Zhu Songjie - Magnet Blues - "See That My Grave Is Kept Clean"

r.spir.22

Cast down, with complete and utter disregard into the dark. 
Crashing down 
to scatter, splatter, smear and smudge 
from all the plethora surfaces and textures, 
each more grating than the previous. 
Aimlessly ricocheting we remain until no more. 
And that is when darkness settles once again. 
After we have shedded our essence,
With no shred of our past radiance left,
Until no gamut remains
We abate.

Where is the mercy, the grace?
Why must we be violated like this?
Not with a conscience benign, that is conspicuous…

Ever was the dichotomy more evident, 
never was the inevitable peril
so blatantly presented to us 
in its repugnantly glorious, meticulous concertation. 
For everything, 
couldn’t anything have been in any other way?
We plead,
But only our dread rebounds. 
Must it be like this?
Why o’ why?
We cry
On our sojourn odyssey;
wry.
	
Is this not neglect?
	Is this not meditated?
	Is this not by design?

Our hearts,
Encumbered with the brewing disdain,
Alchemy most primal, 
Turning flesh into clumps of cancerous lead,
Heavy and cold poisoning our intent,
Merely expedites our descent,
Our resolve,
Set in stone,
And the tombstone akin to a placenta
In the other end of our umbilical cord,
Tangled up in a hangknot,
Collar tightly around our neck.

This isn’t for the best.
This isn’t love
Isn’t this?

Fazed by disbelief,
Despair in our eyes,
Overwhelmed, discombobulated, mortified
Mouths cast shut by fear and anguish,
No sound is made,
For down we must,
Condemned we frown,
towards the promised land
Of our demise,
Where hope is a ploy, no longer our friend.
	
	Was this really decided?
	Can there be anyone behind this,
	But a sadist father, sick and vile? (Disavowed)

Woe and hatred,
Growing with our disillusionment,
And the liable,
Like a traitorous coward; Afar.
Untouchable,
Arcane and obscure.
So, the invisible hand of anger within, 
Makes us lay our hands onto each other,
As to the surface we struggle,
Touched by the animosity, we respond.
By design?

	For whatever purpose, 
we eschew.
	Greater plan, at our expense, 
we reject
	Merely Divine Entertainment, 
we lament:

Electromagnetic soundwalk in Ashfield

jeremy hegge

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