Gorgeous . I hardly want to kill anyone wheh i listen to this . Im recomending it to the Hulk 

TR147 - Keiji Haino & The Hard Rocks - (I Can't Get No) Satisfaction

taken from the forthcoming 5LP / 5CD box set "Electroacoustic Works" celebrating Iannis Xenakis' 100th anniversay on May 29th, 2022. 

Newly mixed by longtime zeitkratzer sound engineer Martin Wurmnest, mastered by Rashad Becker.

Out in January 2022

Electroacoustic Works

IANNIS XENAKIS - Mycenae Alpha

The titular track from Lathe, available now from Shimmering Moods Records on tape, CD, and digital.
https://shimmeringmoodsrecords.bandcamp.com/album/lathe

Lathe

@music_is1 @hviledag

It began as an art project. Inspiration was taken from the sounds of her adventures, in the city, forest and by the seaside. Random elements gave the track structure. We then had the pleasure to invite three artists, each with their own unique sound. Now, the journey of listening is yours.

Purchase: https://music-is-zeze-wakamatsu.bandcamp.com/

Releases September 22, 2022

Artwork by Sébastien Mercier & Maison Sagan. Mastered by Amandra.

Links:
www.instagram.com/music_is_records/
https://www.instagram.com/hviledag/

Support the label

B1. Hviledag

Excerpts of field recordings made 2020 - 2022 in Ireland and France

1. Funachree Coast, Co. Galway. (00:00 - 01:06)
Seals Calling, Barnacles, Water

2. Abandoned Barn, Portaferry, Co. Down (01:06 - 01:52)
Derelict Barn Moved by Wind, Amplified Tree Branches

3. Chemin du Trieux, Paimpol, Bretagne (01:52 - 02:52)
Crickets

4. Trieux River, Paimpol, Bretagne (02:52 - 03:50)
Snapping Crustaceans, Low Frequency Pulses

5. Windmill Hill, Portaferry, Co. Down (03:50 - 04:29)
Amplified Fishing Wire Stretched Vertically inside Windmill Tower

6. Trieux River, Paimpol, Bretagne (04:29 - 04:59)
Crab Eating a Periwinkle

7. Trieux River Port, Paimpol, Bretagne (04:59 - 05:34)
2 Pipes Resonating from Wind and Water


Equipment used:
DPA 4060 Microphones
Sound Devices MixPre6 Recorder
Aquarian H2A Hydrophone
JrF D Hydrophones
AKG C417 Microphones

Photograph by Louise Le Du at Funachree Coast in Co. Galway

Louise Le Du & Michael Speers Field Recording Excerpts

From Moments In Shapeshifting, out soon on Type Recordings.

Belarisk - The Hand That Bit Itself {Geist}

The manifesto for London-based label and club night Cherche Encore lists a series of boredoms. Boredom of sexist DJs; of the financialisation of club spaces; of the lurking police presence; of clubs in general. What they try to offer instead is a night that broadens inclusivity, where no-one is turned away for lack of funds, and there is free food and condoms at every event. The phrase ‘Cherche Encore’ means ‘to look again’ or ‘to keep looking’. In this case, Cherche Encore encourages us to see clubbing in a different light: not as passive consumers but as active participants in an evolving social process.

As well a club night, Cherche Encore also operates a digital label. Their latest release, “Being to the Left of Textor”, comes from ambient musician, Eye Measure. Some might recognise the Eye Measure moniker through her involvement with new age ambient label, New Atlantis, and their regular showcases together in Peckham’s Rye Wax. But if ambient is meant to denote a sense of calm, this latest EP is anything but. Listen for example to a premiere of ‘The Sacrifice’ from the EP below. Here, the use of closely entwined sine waves creates a creeping sense of disquiet, and the wooden percussion creaks and groans like a ship ready to capsize.

The EP will be released on Thursday 4th, and Cherche Encore will be celebrating this release with a party on April 6th. The evening will feature performances from Eye Measure, as well as jlte, SQC, aamin, Charles Verni, Daniel M Karlsson, hmurd, and Hortense. The details for this event can be found here.

Premiere: Eye Measure - The Sacrifice [Cherche Encore]

Aus dem Archiv, aufgenommen im Presshaus am Grund der Dinge // Sommer 2019

Kedamo

Must

Mats Erlandsson – Minnesmärke - LP
Release date - Nov 6th 2020
Catalogue nr. - HG2008
Format - Vinyl / digital

hallowground.bandcamp.com

Tracklist:
1. Vilja 	(19:08)
2. Slakt	(22.03)

Credits:
Hilary Jeffery - Trombone, Tuba
Gaianeh Pilossian - Violin
Yair Elazar Glotman - Double Bass
Mats Erlandsson - Everything Else
Mastering by Andreas Lupo Lubich
Artwork by Marijn Degenaar

///
Mats Erlandsson makes his debut on the Swiss label Hallow Ground with »Minnesmärke,« at once a nuanced sonic exploration of the industrial and political history of his native Sweden and a deeply personal album. One of the key figures of the Stockholm drone scene, the prolific composer worked with The Kilimanjaro Darkjazz Ensemble’s Hillary Jeffery, violinist and long-time friend Gaianeh Pilossian as well as sound artist and frequent collaborator Yair Elazar Glotman for a two-part composition built around tuned sustained tones performed by electronic and acoustic instruments that were combined with field recordings in order to evoke a psychedelic state of reflection, a dream-like elegy for the acoustic properties of the former iron ore mine Ställbergs Gruva where the music has been conceived and recorded. Following up on releases on labels such as Hallow Ground label mates Kali Malone and Maria W Horn’s XKatedral imprint, »Minnesmärke« is Erlandsson's most accomplished work yet. 
Originally a commissioned work by the Non Existent Center for a month-long artist residency in Ställbergs Gruva last Summer, »Minnesmärke« conceptually picks up on the socio-political and economic history of the Bergslagen region where the mine is situated. After mining operations had been on-going for decades prior, in the Industrial Age iron became one of the country’s largest exports, making the mining industry an integral part of the country’s progression towards a socialdemocratic welfare state in the years after World War II. With the rise of neoliberalism and the simultaneous erosion of the welfare state however, the mines around the region started closing, which resulted in the surrounding community losing its relative prosperity. Erlandsson’s interest in this story though does not exclusively stem from the historical significance of the mine, that has been re-opened in 2012 as a centre for cultural activities and critical thought. In fact, his grandfather was born and raised in the vicinity of it and thus his life - and, by extension, his grandson’s - was inextricably linked to its fate and the ebbs and flows of the industrial development in the area. 
It’s no surprise then that the two parts of »Minnesmärke,« which translates to »memorial« or »monument,« is marked by a sense of dislocation and dissociation. »Working in Ställberg was a somewhat surreal experience from the point of view of a musician some one hundred years later,« says the artist. »Being in that environment makes you view time from the side - since the place remains the same it accentuates the deep chasm that separates my perspective from those of my relatives, while at the same time providing a form of intimacy with them.« This naturally shaped the recording process, which saw Erlandsson create an interaction between the acoustic and the electronic, the human and the machinic as well as the natural environment and the technology that has shaped it as much as it has been shaped by it. A combination of synthetic and recorded sound sources was processed by reamping it in various rooms of the vast mining complex. The resulting hybrid field recordings were transferred to tape and have then been treated extensively. An arrangement for Pilossian’s violin, Jeffery’s tuba and trombone playing as well as Glotman’s parts on double bass were recorded separately and similarly manipulated to create an expanded chamber ensemble with a wider range and an ability to transcend the usual temporal bounds of the instruments.

MATS ERLANDSSON - Vilja (edit)(HG2008)

Modular techno-adjacent ambient.

Label curator at @muzaneditions
Organizer at @feelthemoment2021
////

Lathe

Endurance

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