Echo of Wings

Before The Blessing - Yoshiharu Takeda

London-based Slowcraft continues to craft... slow, and quiet, beautiful music... the type of music that I love waking up to and observing the dark sombre sky open up to the world for another short day. For the latest release on this boutique label curated by James Murray, we are gifted with a six-piece album by a Czech composer and field recordist, Tomáš Šenkyřík, titled Hajú, which is an old Moravian word that loosely translates to “hush hush”. Today's track premiere of "Advent" is as appropriate as ever, with the seasonal preparation for the holidays, which began yesterday, November 27th. The word is a Latin adoption of "adventus" which means "arrival," and whether you are of Christian faith or not, the approach towards this time is sensed by everyone. For me, it's like a ramp down off the highway of the year, about to enter through the tunnel, where night and quietude surround a slow transition in-between, before a ramp-up into busy January, where somehow everyone exhales anew. This journey is perfectly soundtracked by Hajú, with its "subtle weaving together of acoustic elements, soft synthetic manoeuvres and evocative field recordings to spellbinding effect." These gentle, minimal, and fragile sounds are cradled further by warm strings and piano keys, concluding with a lovely lullaby, with vocals by Marie Puttnerová, "a modern-day framing of Moravian folklore guided as much by ambient minimalism as the ghosts of Dvořák and Janáček, one in which the family hearth forever glows with unmistakable warmth and generosity of spirit."

Hajú

Advent

TRACK PREMIERE : Tomáš Šenkyřík - Advent

Electronic ensemble Snow Ghosts return with their fourth album, ‘The Fell’. A collection of old folk songs that were never written. 

More Info: https://hth.lnk.to/TheFell

‘The Fell’s’ instrumental arsenal consists of esraj, dulcimer, daf and bodhrán drums, violin, guitars, and a variety of synthesisers. Whilst equally vast, immersive and other-worldly, these tools are used to create intimate, personal stories. Sharing a mutual influence of the shadowy elements of folklore and the heavier side of experimental noise, a disparate array of reference points and this extensive collection of instruments combines to form Snow Ghosts’ bewitching and often intoxicating sound.

Available on vinyl and digital - 24th February 2023

Pre-Order/ Pre-Save

Buried

Hey, you remember the Icelandic independent imprint called INNI Music, yes? It opened up with Atli Örvarsson's You Are Here back in 2020, and then there was Rose Riebl's Do Not Move Stones in 2021, followed up with Jónsi, Sin Fang, Alex Somers, Kjartan Holm's Sounds of Fischer Vol. 1 a year after, all of which have consistently made to my Best of the Year lists, in every single year. Right. So, yes, this is the same Holm from that Jónsi (of Sigur Rós fame) collaboration, this time with a solo release. Hailing from Reykjavik, Kjartan Holm is a musician and a film composer with half a dozen scores under his belt. This album, titled HORIZON, was originally written for a same-named documentary about the late Icelandic painter Georg Guðni, "whose innovative interpretations of forms and ideas paved the way for a renaissance in Icelandic landscape painting." The music, as conveyed in a piece I am premiering for you today, is capturing the vast and sprawling atmospheres, blending abstract textures with ethereal melodies in pastel haze, shifting tones, and wide brushstrokes. You don't even need to look up the paintings to see the resemblance (but I recommend that you do). Lovely tonalities to get lost in on this one, and I recommend that you pick up the album, in just a few days...

HORIZON

Limitless Pt. II

TRACK PREMIERE : Kjartan Holm - Limitless Pt. II

Taken from the upcoming album 'Oyasumi', forthcoming on Fluid Audio...

In a musical exchange back and forth between Tokyo and Copenhagen, Kei Nogami (JP) and Mathias Lystbaek (DK) has the created the album Oyasumi. The album is centered around eclectic electroacoustic loops with the addition of piano, flute and cymbal. Oyasumi means ‘Goodnight’ in Japanese, and the music reflects the sleepy haze before dreaming, with repeated fragments of melodies reminiscent of childhood lullabies and music boxes. This quiet album is an exploration of looped and improvised material, suitable for tranquil moments and contemplative pauses.

- Kei Nogami (K Nogami): Loops, electronics, field recordings & found objects. 

- Mathias Lystbaek (Circa Alto): Piano, flute, bass & cymbal.

Credits:

Artist: K Nogami & Circa Alto
Album: Oyasumi
Composition & mix: Kei Nogami & Mathias Lystbaek 
Cover photo: Kei Nogami
Label: Fluid Audio
Design: Daniel Crossley

Oyasumi

K Nogami & Circa Alto - Kasumi ka kumo ka

Tamarack Array

Ambient ethereal soundscapes for your pleasure, relax, chillout and enjoy.

DARK AMBIENT - MISKATONIC SECRETS

VENDAVAL EN UNA RAVE AL LADO DEL MAR

Yllään on aamu, korennot ja kesä (Svarte Greiner remix)

Excerpt from a release with Longform Editions. Listen/purchase the full track here https://longformeditions.bandcamp.com/track/immaterial

// 
Earlier this year I spent a two-month period on residency in Hong Kong. I was instantly drawn to the colour and vibrancy of the city, as well as to certain materials and objects that kept reappearing on my explorations.

Billowy, gauzy construction cloth that covered spiny bamboo scaffolding, the devastatingly-inviting colourful-sheen of single-use plastics, discarded durian husks, the deep blue night-time sky made hazy/dreamy/luminous from neon lighting, lush and vibrant green foliage…

I was thinking about the small variations in the repetition of these materials, as well as the repetition of certain images and sounds.

The phasing on/off flash of orange construction lights lining long stretches of road; the rhythmic phasing of multiple pedestrian crossing beeps heard simultaneously. the overhead circling of the kites (seabirds) in the sky; the below-water circling of plastic bags in the harbour.

For a little while now I’ve been cultivating an obsession with the relationships between sound, material/object and texture. How feeling can inform listening, how listening is feeling, and how this felt-listening can alter our perception of things as we are taught to ‘know’ them. For me listening is acknowledging the intrinsic connections between our surroundings and ourselves.

If we acknowledge the vibrancy and resonance of everyday objects how might this change our actions and thinking around them.

"My hunch is that the image of dead or thoroughly instrumentalised matter feeds human hubris and our earth-destroying fantasies of conquest and consumption. It does so by preventing us from detecting (seeing, hearing, smelling, tasting, feeling) a fuller range of the nonhuman powers circulating around and within human bodies." Jane Bennett in Vibrant Matter

It occurred to me, whilst writing this and listening back, that not only are materials amplified in Immaterial but certain sounds appear almost material in themselves, such as the squeak of shoes on basketball courts, and the droplets of rain on foliage. These sounds seem not to belong to shoe or court, rain or leaf, but are formed in the entwining to become a thing in themselves. It is this connectedness through sound that I am fascinated with. Through sound unequal forms can be connected: mic distortion disguises itself as crinkling plastic bags that blends into the crackling sound of shrimp underwater.

Sound waves traverse through our bodies and our surroundings, forming knots and vibrations and connections and confusions. In sound material blends with the immaterial and new imaginaries can be made, for me this is a way out.

Immaterial was composed in parallel to these thoughts.
Like silky-soft milky tea tasted alongside a crispy-sweet pineapple bun.
//

All sounds heard on Immaterial (excepting one recording of clarinet) were recorded in Hong Kong between April and June 2019.
Composed, performed, recorded and mixed by Alexandra Spence
Additional percussion by Karen Yu
Mastered by A.F. Jones at Laminal Audio

Echo of Wings

Julia Kent