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Christ died on the cross ✝️ while we were yet sinner, He suffer for ur sins, He took that penalty on the cross. And rose again the third day for you, and if you confess your sins and repent (turn away from your sins)

Father Forgive me of my sins (named them), I have realize that I am a sinner without you i am left broken and only you can satisfy my needs and I believe that you died on the cross and rose again the third day so that I can have everlasting life.

😍😍😍😍😍аххх,jonny...🤗

reminds me of Warm Hands and a Gentle Stab

This was nice.  Relaxing and contemplative

Akari is the third album from Tokyo duo Illuha. Following 2011’s debut Shizuku (12k1067) and 2013’s Interstices (12k2028), Akari takes the next artistic step for the band. While Shizuku was recorded in the US and completed separately by the artists, Interstices captured the duo creating their exceptionally detailed music together live during a Japaneses tour. Akari, in turn, is the first studio album where Illuha recorded and mixed together, throughout the entire process. The beautiful st-robo studio in Tokyo put a collection of amazing equipment at their fingertips, from vintage mics and outboard gear to a vast collection of instruments, both acoustic and electronic. Their writing sessions were numerous and long with details meticulously obsessed over for nearly a year. The result is the most bewildering music Illuha have created to date. An album swimming with the most delicately tactile sounds and instrumentation that draws the listener in with hushed, motionless attention.

While Illuha’s Corey Fuller and Tomoyoshi Date are often drawn to the most sparse notes of Rhodes and Wurlitzer electric pianos, acoustic grand piano and guitar, the breadth of instrumentation is partially what makes Akari so abosrbing. They have succeeded in creating their own universe of sound, so beautifully recorded, where each element not only has its own space but connects and interacts so fluidly with the other sounds. It is as if they are placed perfectly by nature, the compositions are fluid and organic, a far cry from anything calculated or structured. It is this open space that the music exists in which in turn defines the music itself. There is ample room to breathe within this forest of gentle tines, bubbling analogue synthesizers, clicking percussion and quiet field recordings. This is subtlety at its most refined; hushed without being saccharine, distant without being morose.

Akari is the Japanese word for light. Conceputally the duo used this word as a guide, as if they were searching through the dark, trying to keep the light alive, as if one is cradling a candle doing everything in their power to keep it alight in a storm. It is this almost visceral sense of sheltering, of protection, that gives Akari a very human and personal sound whose intensely deep focus is as impressive as it is arresting.

Akari

Structures Based on the Plasticity of Sphere Surface Tension

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Structures Based On The Plasticity Of Sphere Surface Tension

In the wet heat of a Japanese summer, legendary musician Ryuichi Sakamoto was joined on stage by Taylor Deupree and the duo of Corey Fuller and Tomoyoshi Date, known as Illuha. The Yamaguchi Center for Arts and Media hosted the event as part of their 10 year anniversary which also included a captivating installation by Sakamoto called Forest Symphony. The days surrounding the concert brought the artists together for food, talk and exploration. Informal but meaningful moods that prepared them for performing together.

The performance, an improvised set for piano, guitar, pump organ, and synthesizers, ended up affecting the artists in a deep way. The four, having never played all together before, were taken aback by the level of listening and restraint that flowed between them. The audience sat in a breathless silence, the music offering a respite from the thick July air. As the last hushed note faded into blackness the artists knew right away it had been a deep journey.

It is a fortunate event when a moment like this is captured, as this concert was ( recorded in high quality DSD). Perpetual, named for the eternal and ageless quality of the music, is presented in three movements that traverse from soft layers of synthesizer and processed guitar, to open, airy sections of prepared piano and silence, to finally coming to rest in a most hauntingly delicate lullaby of lonely piano, crackling found objects and field recordings and tones suspended like mists.

Perpetual not only surrounds us and stretches through time but collects that expanse into a single memory, a record of a brief moment where time stood still and four musicians merged into one.

Perpetual

Movement, 3

www.instagram.com/markuslipsoe

blurer is a peripheral study exploring ways to perceive our surroundings beyond any focal point. The poetic text where the winds are coming from, invites contributing artists and musicians to collectively explore a world that has become unfamiliar yet again. Inspired by the moment Alice tumbles into Wonderland, it asks what it means to unlearn, relearn, and navigate within a world anew. Like Alice, this conceptual mixtape delves into places, things, and feelings that have been overlooked, ignored or seen as a backdrop. The text, tracks, and sounds of this compilation take us on an explorative journey—not to arrive somewhere, but to sense that what lies within the blur has always already been in the here:now.
(Lisa Walder, 2025)

Most music is used as a form of abstract translation. To unblur the personal, we abstract it and transform and transport it through familiar sounds. Through abstraction, the motives are essentialized to their core. In this, minimalism becomes a prioritisation. A blur can be more flexible. The reduction of elements could be optimistic or protective.
What this release does is observe the peripheral, to look for emotionality or personality within it, but also to create atmospheres that appear peripheral, yet are again included in the general blur.
When hearing the sounds of blurer, the focus of the compositions fluctuates and directs the listener’s perception to certain points within, not only to hear what seems essential but also to draw closer attention to the peripheral. Throughout the whole release, the procedures are very different. Some moments are vivid, almost narrative. There are deconstructed references to find, in both energetic and quiet forms. Occasionally, we pass by rearing, foggy drone walls or prancing, twirling, or scurrying melodies carried around, on synths or guitar strings. Blurer seems to harbor atmospheres of comfort in the cold, loops of spiraling memories or expressions of disorientation, that scamper around on the acoustic foundation created by the 19 artists.
(Elia Brülhart, 2025) 

Assembled by Periphery Serpentine
Commissioned Text by Lisa Walder
Mastered & Cut by Isabel Schröer
Artwork & Design by Dimitri Erhard

supported by GGG Kulturkick Basel-Stadt
ryser005 © 2025

blurer

safe

Global Boiler Repair - safe

Passive Aggressive

Photo With Grey Sky, White Clouds

Freedom

MATstudio 2

Maybe This Is Something You Should Think About

From the album "Tea Notes". All music by Jatinder Singh Durhailay & David Edren. Recorded january to march 2018 in Antwerpen and London. Mixed and edited by David Edren at ll150. Mastered & cut by Anne Taegert at Dubplates & Mastering Berlin.  Artwork by Victor Robyn. Vinyl + digital release on Ekster: 12th of September 2019: https://eksterlabel.bandcamp.com/album/tea-notes

Tea Notes

Jatinder Singh Durhailay & David Edren: "Shincha"

http://elliotbergman.bandcamp.com

Peace Bells is a glimpse into the multi-layered world of artist and musician Elliot Bergman. The cassette, reissued by Leaving Records, was recorded over a weekend at the Felix Art Fair in Los Angeles, in the booth of Shane Campbell Gallery. Over the course of several days, Bergman gave durational performances utilizing his collection of self-made instruments, which he looped and layered into the music you have on this tape. For the past 15 years, Bergman has been building amplified variations on the African Mbira, which he refers to as Metal Tongues. He has also been making Peace Bells, from melted guns and bullet casings. Using this rich collection of instruments as source material, he builds looping and layered soundscapes that evoke comparisons to Moondog, Reich, Bertoia, Eno and Konono No. 1. These rhythmic and otherworldly textures range from minimal and meditative to driving and danceable.

Maybe This Is Something You Should Think About

jonny nash

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