Her Feedback

Que No Se Diga

Taken from the album 'Suisse Redux' released as LP and Digital

François J. Bonnet & Stephen F. O'Malley 'assembled by Jim O'Rourke (excerpt)' (EMEGO 298)

“Sonic Animism" is a site-determined body and sound performance that investigates the state of the sentient-being on the non-human agency brought by technological sonic happenings.

The framework of the performance is an artificial environmental cycle system where each element incorporates with each other in a dynamic process. It permits micro level of properties evolve to novel integrated wholes

With this performance, Yang aims to blur the binary separation between the “objective existence” and the “subjective experience”. He transforms the hierarchic relationship between man and the man-made preconception of machines, matters and physical phenomena into a coexistence of self-reflections within one another.
credits
releases September 9, 2022

Recorded & presented by
M3 festival & SPA event series

Special thanks to Antonin Brida & Petr Dlouhy, Matouš Lipus

Cover art photography by Aloïs Yang
license
all rights reserved

Project Link and Video:
https://aloisyang.com/Sonic-Animism-Lava-Stone-Copper-Wire-Fire-Metal-a-Wave-12-Feedback

Sonic Animism: The Emergence (Dinzu Artefacts 2022  album preview)

extr : 8’35’’ -  1978 – CD: Cultures électroniques 14-27° concours international de musique et d’art sonore électroacoustique -
                                                  série Imeb / UNESCO / CIME 2000 - voix : Mercedes Cornu

Echos - extr : 8’35’’ - 1978

Live at Echo Festival 2022

Things Desired

Efemerides - De Luz Lila

B4 - Fuga En Alcatraz

snf04 : giuseppe ielasi "even when they speak of space" out dec.15th 2017.

music for whistling, microphone and digital degradation. 
recorded in november 2016 and august 2017. 
to be played at low volume.

www.senufoeditions.com

snf04 : giuseppe ielasi "even when they speak of space" part 1

Widjabul country
mixed subtropical vine forest/rural land
january, 2019

thanks to adam, kelly & charley for letting us crash at their property

twilight cicada's, jiggi valley

NORMAN WESTBERG & JACEK MAZURKIEWICZ, First Man in the Moon - LP
Release date - March 12th 2021
Catalogue nr. - HG2101
Format - Vinyl / digital
Hallow Ground
Vinyl / digital, catalogue nr. HG2101

hallowground.bandcamp.com

Tracklist:
What Is Good For The Goose (09:35)
That Was Then (08:29)
First Man In The Moon (06:45)
Falsely Accused (06:33)
Oxnard (05:47)

Credits:
Recorded at Studio Diamentowy Pies
Damian Pielka, engineering
Piotr Mazurek, engineering assistance
Jacek Mazurkiewicz, mix
Lawrence English, mastering
John Fell, photographs
Greenpointless, design

///
An unlikely meeting of two like-minded spirits, »First Man in the Moon« sees the former Swans guitarist and Hallow Ground regular Norman Westberg and the prolific double bass player Jacek Mazurkiewicz collaborate for five evocative tracks. The pair finds common ground beyond the boundaries of atmospheric drone, abstract jazz and experimental music and blurs the lines between the acoustic and the electronic. 

The two first met when the composer Mazurkiewicz supported Swans with his solo project 3FoNIA on their 2014 European tour. »I really enjoyed his approach,« says Westberg about the Polish musician’s blending of the acoustic qualities of his instrument with electronically generated sounds. A decision to collaborate was made and when the US-American musician returned to Eastern Europe to support Michael Gira on his solo tour in late 2019, Mazurkiewicz reached out to him with the idea of booking some studio time before Gira’s two concerts in Warsaw. »Recording was very fun and easy,« remembers Westberg. »It was just two people enjoying hearing and reacting to what the other is doing.«

»First Man in the Moon« is not however a plain document of these improvised sessions, but also shaped by Mazurkiewicz’s approach as a composer. Once the recordings were finished, he selected and edited the recorded material, refining the peculiar dialogue between the guitarist’s meditative drones and bright chords and his own rhythmic yet subtle approach to playing the double bass, sometimes plucking the strings and occasionally using his bow to underscore Westberg’s fleeting melodies, but also using the instrument in unconventional ways to generate sound. 

A feeling of weightlessness prevails throughout the aptly-titled »First Man in the Moon.« Even at their most abstract however, these five improvisations-turned-compositions remain tangible, lively, and joyfully explorative. It is a record that you wouldn’t expect from either of these musicians, but the logical result of two idiosyncratic minds sharing not only space and time, but also their respective visions with each other.

twilight cicada's, jiggi valley

jeremy hegge

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