Sean McCann - Ten Impressions for Piano & Strings
Edition of 300 LP / Digital Download

Worldwide: Jan 16, 2015
US: Jan 20, 2015

Realized over a four year period, Sean McCann’s Ten Impressions for Piano & Springs is a document of transition and maturation. Slow moving cloud forms over corporeal landscapes, these impressions whisper of McCann’s imminent & decisive lean towards classical & avant-garde musics, culminating in 2013’s Music for Private Ensemble on his own imprint, Recital. Less a final statement on ambient music, more a meditation on change, discovery and process.

rootstrata.com/release/RS97

Sean McCann - Guardian

Ourá - Permixtion 
Form & Method [SE007 / Starry Earth]

Produced by Drew Carpenter & John Baugley aka Ourá
Mastered by Drew Carpenter
Released by Starry Earth from Andover, UK
Release Date: July 25th, 2025
Format - Cassette and Digital

After the first inital collaboration between Foreseer & Heavenly Bodies, we present you the second outing. "Form & Method" using a similar production ethos while including a few nods to "Rerum Natura" the pairs first EP. We are gifted with a supernatural experience based upon the creation of a Philosophers Stone.

Ourá (UK)
https://soundcloud.com/OuraOura

Starry Earth
https://soundcloud.com/starryearth
https://www.facebook.com/thesilverywater
https://www.instagram.com/thesilverywater
https://starryearth.bandcamp.com

Oslated.
http://www.oslated.com

Form & Method

Permixtion

Support & Buy

Ourá - Permixtion [Starry Earth]

BedouinDrone - Assassinations

... We pulled out our phones to take photos of all of it. As we aimed our shot, from the sky emerged these not supposed to say things approaching fast and smooth at a sharp diagonal with four whirling whirring pads like the feet of frogs and as I went to tap the screen I saw emit a bright white light precision pointed at me 

& I was aboard it. 

& Suddenly Everything Turned Sea Foam

FRKWYS Vol. 13: Sunergy

Closed Circuit

from 'Calibrate' [CD|LP|DIGITAL]
Denovali Records · den311
available on all formats at http://denovali.com/ricardodonoso

“Quicksilver frequencies, gravelly formants and shimmering, mirage-like washes of tone. Sometimes his sounds feel like signals picked up by a radio telescope, or pure electricity poured through a sieve” Pitchfork

“He displays a resistance towards the boundaries of genre, taking experimental, techno and noise templates and blending them with different range of sounds, delivering some of the most wonderfully eccentric and evocative music in recent memory” Dummy  

“Transcendently dark permutations” The Ransom Note

“A genre-defying electronic explorer” Exclaim

On November 30th Denovali records presents ‘Calibrate’ – the new album by respected underground figure, composer and producer Ricardo Donoso. As has now come to be expected from the questing musician, once again he has endeavoured to do things differently, pushing beyond any comfort-zone parameters. 

‘Calibrate’ proffers the highest of fidelity, with blockbuster sci fi levels of production value and bombast. Donoso channels sonic spirits across fluro pointillism, futuristic industrial tribalism and more serene moments of synthetic reflection.

Having never courted accessibility, Donoso remains as unbending as ever in his approach and unwavering in commitment to his craft. Calibrate takes Donoso’s polymetric abuse and sound design to all new extremes. Conflicting rhythms and swathes of electronic debris move in tandem, to create pieces that expand and contract in on themselves.

A journey through Calibrate is an exercise in instability and failure; its aggressiveness serves as a warning against the urge to seek safety on common ground, and its entire approach seems to display a hostility towards the increasingly homogenized nature of new electronic music. 

The first in a two-part series, ‘Calibrate’ seeks to explore not only the literal connotations of instrument accuracy, gauging and tuning, as represented by the constant flux of machinery and computer noise, but also explores calibration as an adjustment; to take external factors into account, or to allow comparison with other data. With ‘Calibrate’ Donoso continues to question what music is, and what it expects of him. 
Ricardo Donoso is a composer, percussionist and electronic musician from Rio de Janeiro, Brazil who currently resides in Boston. After having studied composition at Berklee College of Music and the New England Conservatory, he has participated in a slew of projects over the years, from holding down the drum chair in avant-metal visionaries Ehnahre, to scoring for recent documentary features such as Greg Barker’s ‘Homegrown: The Counter Terror Dilemma’ (HBO pictures 2016) and the Grand Prize short film winner in Brazilian cinema ‘Casimiro Effect’. Donoso has since collaborated with film makers and video artists on commissions worldwide, creating immersive environments and performances. 
As a solo recording artist, Donoso has released music on esteemed labels such as Denovali, Digitalis, Further Records and Hospital Productions, and continues to tour throughout Europe, Asia and Latin America. He is most concerned with building and manipulating an immersive sound world that blurs the line between light and dark, hope and despair, past and future. Under a chain of progressive rhythms, cinematic textures and elegant melodicism, Donoso’s work pushes through with piercing strength, manipulating a sonic wave through space with nothing but mind-blowing intensity.

Calibrate

Ricardo Donoso - A Vigorous Unfolding

Written and produced by Greig Baird 
Layout and design by 扎克 
-- 
© Healing Sound Propagandist 
HSP-05 | MMXIX 
pastinsidethepresent.com/hsp 
healingsoundpropagandist.bandcamp.com
license
all rights reserved

In the Summer of 2019 Greig Baird and his family moved home and into a new area of a city they have lived for many years.

The layers and layers of history in this new locale were palpable and inspired Baird to create this small collection of music, ‘Once Hallowed’.

This new area was home to a Franciscan Friary established in the 13th century and later home to a church, Allhallows-on-the-Wall built in the 19th century. This church was later a corset factory, then later a parachute factory during war time. The last burials in this place were conducted in secrecy by the light of a midnight moon during the cholera epidemic of 1832. The wall outside Baird’s home dates to Roman times and was once the south-western city limit.

The burial grounds now deconsecrated and long abandoned are also home to the catacombs of the city. Again abandoned long ago, bodies long removed, tales of stolen skulls and grave robbing, and the stone of which they are built are all that remains. The areas wildlife, dog walkers, children playing, students hanging around, drunks falling asleep on abandoned tombs and the city’s drug dealers plying trade all make the place what it is. Often beautiful as the light changes and Falcons fly above, the sounds of the day city form into the nocturnal; sometimes sad as the desperation of people’s modern situations becomes abundantly clear.

The relics of the past experienced in our present creates something else. Something deeply inspiring, creating an atmosphere deeply felt and not entirely understood.

Glare

'Glare' - Once Hallowed - [Healing Sound Propagandist, 2019]

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

Closed Circuit

Kaitlyn Aurelia Smith

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