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Ellen Arkbro - Ellenmusic (excerpt, from rehearsal)

Setting circles

Piece for scordatura violin, vevlira (hurdy-gurdy) and nyckelharpa (keyed fiddle).
Commissioned by Norbergfestival / Anrikningsverket 2015.

Written by Katt Hernandez (@katthernandez).
Performed by Katt Hernandez, Lisa Gerholm, Bruno Anderson and Fredrik Bergström.
Live sound engineered by Rasmus Persson and Jakob Moe. 
Recorded by Daniel M Karlsson. 
Mixed and mastered by Johan Östman.
Performed on 30 July 2015 at Norbergfestival in Mimerlaven ore facility, Norberg, Sweden. 
Extracted Sounds podcast (ed.) Johan Östman.

Extracted Sounds 2: Deuterium Quartet live at Norbergfestival 2015

Ephemeris

rip Juliann Julian - nonbinary meditation

Sarah Davachi - "Let Night Come On Bells End The Day" LP with CD (R45)
www.recitalprogram.com/let-night-come/
www.recitalprogram.com/purchase/

R45 Sarah Davachi - "Buhrstone" from Let Night Come On Bells End The Day  LP w/ CD

This is a draft from the piece Loss, written for and commissioned by the Stockholm Saxophone Quartet and with tape based on processed recordings of the saxophones. It is a spatial piece and can be performed as an octet with the four saxophonists and four speakers, each playing separate stems, placed in a circle around the audience. It can also be performed in front of an audience and with a stereoversion of the tape, with speakers placed beside and slightly behind the quartet. Loss was first performed at Scenkonstmuseet on March 20 (Stockholm, Sweden). This recording was made on October 28 2018 in Hässelby Villastad Kyrka (Stockholm, Sweden).

Loss (excerpt)

Sean McCann - "Puck" LP
http://www.recitalprogram.com/puck/
Edition of 500
12-page “Puck” pamphlet
Two art cards with program notes and recollections

R69 - Sean McCann - "Broth" excerpt from Puck LP

FUJI||||||||||TA, iki, LP

Release date - April 3th 2020
Catalogue nr. - HG2003
Format - Ltd. Vinyl/digital

https://hallowground.bandcamp.com

Credits:
All music composed, played and Recorded by FUJI|||||||||||TA
Mixed by Makoto Oshiro
Mastering by Lawrence English at Negative Space

Tracklist:
1) keshiki (09:42)
2) nNami (09:20)
3) osoi (10:12)
4) sukima (07:03)

///
"FUJI|||||||||||TA has created a work that operates as a beautiful nexus between the material and immaterial qualities of music. 
It is a lived-in dreamscape of deep, rich tonality. A remarkable debut."
(Lawrence English)

///
FUJI||||||||||TA, real name FUJITA Yosuke, is a Japanese sound artist. After countless performances in different contexts either solo or along artists such as Yamantaka Eye of Boredoms and the legendary avant-gardist SUZUKI Akio as well as a slew of solo releases, his LP »iki« (»breath«) for the Swiss-based Hallow Ground label is his first in nine years. On these four pieces, Fujita explores the idiosyncratic sound qualities of the pipe organ he has built all by himself in 2009. This - quite literally unique - instrument features only eleven pipes, an air pump called »fuigo« which was modelled after a traditional blacksmith’s one and has no keyboard. Inspired by traditional gagaku, it was designed to evoke rich landscapes rather function as just another musical instrument. While his previous records saw FUJI||||||||||TA explore various modes of abstraction, »iki« is a highly emotive yet meditative album, musically restrained but full of imagination.

»keshiki« immediately sets the mood for this record with a long sustained note that is punctuated by the soft clicking of Fujita’s air pump. Once Fujita carefully starts bringing melodies into play, the interplay of the drone and the discrete rhythmic element gives way to a fuller harmonic whole. »keshiki« is an intimate piece that perfectly displays the artist’s knack for painting a rich sonic picture with only a reduced palette. »nNami« juxtaposes the sounds of two pipes that are out of tune with each other, creating a hypnotic sensation of ebb and flow (»nami« translates to »wave«) that is full of subtle friction. It’s a staggering artistic interpretation of the instrument’s material characteristics. Clocking in at ten minutes, »osoi« (»slow«) is an overall melancholic piece that explores the relationship between different tone colours through minute changes in pace. Finally, »sukima« (»blank space«) is the shortest and the most rhythmic piece of the four. Composed of only staccati, it is a masterful exploration of the harmonic qualities Fujita’s stunning pipe organ has to offer.

Recorded between September and December of 2019, »iki« marks the culmination of FUJI||||||||||TA’s ten-year-long work with the instrument that he had built without any prior knowledge and started to teach himself to play without a manual in sight. It is, in other words, the unique result of a unique musical mind paying his dues to the uniqueness of his own creation; introspective and welcoming at once.

FUJI||||||||||TA - osoi (HG2003)

Kajsa Lindgren (b.1990) is a composer and sound-artist mainly working with field recordings and different ways to perform them, often through spatial, multichannel distribution. Her work includes electroacoustic compositions and sound installations, as well as compositions for acoustic traditional instruments. 

By using interviews as a method when composing and field recordings as the material, she has found a way to work with expectations and traditions when it comes to the process of composing and the performance itself. Combining interviews and field recordings has therefore shown to be an effective way for her to open up different ways to approach the process of exploring subjects and environments through sound.

Kajsa Lindgren is a composer educated in both western contemporary art music and electroacoustic composition and holds a Bachelor (2015) and Master (2017) in Electroacoustic Composition from the Royal College of Music in Stockholm.

Loss (excerpt)

KajsaLindgren

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