Love the tiny beat of this part. Thanks for sharing!

Matt Evans - Percussion
Henry Fraser - Double Bass
Lucia Stavros - Harp
Lester St. Louis - Cello 

Composition + electronics by Lea Bertucci, 2021

Of Shadow And Substance (Excerpt)

Pleased to share the 9th episode of the Kuboraum Digital Sound Residency, hosting Studio LABOUR’s mind-altering soundscape mass and mess, dispersion of subjectivity.

LABOUR is the Berlin-based sonic entity composed by multidisciplinary artists Farahnaz Hatam and Colin Hacklander. Bringing together their experience in molecular biology, sound art and post-tonal theory, they compose ambitious and reverently experimental audio works centering around the transformative potential of sound. Their practice promotes active listening and a heightened sensory awareness, interrogating existential questions and the power structures that form our collective reality. Through immersive performances shifting between digital sound synthesis, algorithmic compositions, percussions and vocals, LABOUR explore the juxtaposition of amplified and unamplified sounds within specific architectural spaces.

“LABOUR devise methods of co-existence and distinction through rupture while gesturing towards the possibility of strong, sudden shifts in consciousness.”

'mass and mess, dispersion of subjectivity’ shows their continuing exploration of temporal juxtapositions, merging algorithmic rhythms with cyclical pulsing drum layers to discover alternative notions of time. This new track relates aesthetically to their previous pieces next time, die consciously (بیگانگی) and hit of enlightenment, contemplating on the construction-of-self and the extent to which external forces create us, being heteronomy the condition of all things. Operating simultaneously on multiple temporalities — from microsounds and stochastic synthesis to rhythmic cycles to acknowledging that which propels beyond — these pieces take a critical stance towards notions of regulated time by embracing rhythmic instability and sound as sculptural material.

Their recent performance Sungazing premiered in Kraftwerk during X100 Berlin Atonal (2022) is one of their most extensive works so far, involving an ensemble of 30 drummers, 7 string players, 4 dancers, 2 drum sets, and 3 visual artists, all distributed throughout the audience. Proposed within the framework of Xenakis’ legacy, the performance was described as ‘An ode to the one who pursues an experimental lifestyle, an ode to the avant-garde’. Other commissioned compositions and performances include: Eventide in collaboration with Fa’ Pawaka (2022), Julia Stoschek Collection, Berlin ; Sungazing, HAU (2022), Berlin ;  Constructs of Sanity, Musica Sanae, Berlin (2019); nine-sum sorcery, Berlin Atonal (2019); Activating the Gropius Bau, Sonically, Martin Gropius Bau, Berlin (2019); next time, die consciously (بیگانگی), Berlin Atonal (2018); Hacklander’s Activating the Messeplatz, Sonically and Stochastic Activation: Basler Trommeln (with Isabel Lewis), Basilea, Art Basel (2018); conatus/consent, Neue Musik in St Ruprecht, St Ruprechtskirche, Vienna (2015) and Levels of Intrusion, transmediale, Haus der Kulturen der Welt, Berlin (2014).

composition and production by LABOUR: Farahnaz Hatam and Colin Hacklander
second drummer: Masaya Hijikata
bass clarinet: Yoni Silver
drums recorded by: Francesco Donadello

Photography: Evelyn Bencicova

Kuboraum Digital Sound Residency: www.kuboraum.com/digital-sound-residency/

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Studio LABOUR - mass and mess, dispersion of subjectivity

A year and a half has passed since Slovak-Hungarian artist Adela Mede self-released her debut album ‘Szabadság’. Its liner notes described it as “a navigation”, a search through “the personal, familial, cultural, folkloric and geographic of her past and present.” Her second album, ‘Ne Lépj a Virágra’ no longer searches; here, she puts down roots and delves deeper into the earthy reality of her home, Central Europe. Mede sings in three languages with newfound conviction and grace – this is an album of profound faith and confidence in the potential of this fertile soil.

Ne Lépj a Virágra

Adela Mede - Nestoj Nado Mnou (ft. Wojciech Rusin)

Meeting on a sound loom. A flute and a computer, amplified little things. Pile of shale, branches of coral, a few hidden recordings and electronic devices. No clear idea, just weaving the making and the listening.

Lacking Sound Festival 88
2014, October, 18 (Sat) ＠Former Air Force Command Headquarter

More info here : http://www.kalerne.net/yannickdauby/?p=282

(photo by Etang Chen)

141018 David Toop & Yannick Dauby - Live in Taipei

Silhouettes above rubbles
Tuming into pillars
Monotonous mannequins
Walk away with stamps

Grains of a copy, of a shade
Cloning fragments of tedium
Clustered roots, source-clumsy
Growing into visage

Mumbled echoes from the mist, through the tunnels of revival. The graininess interplay with a subdued mellifluence. A haze of longing sighs and reverberations - threshold between the lane, where distant voices yield to light.   

Night Foundation, the electronic solo project of visual/sound artist Richard Vergez and the founder of the label - Noir Age, explores existential soundscapes, utilizing analogue hardware including vintage synthesizers, found percussion, tape effects, and manipulated wind instruments. 'Change Your Mind' holds the resilience and heralds the breath of new horizon.

Change Your Mind

Night Foundation - Counting the Days

tech palms - gems within

From Bastian Void and Endurance's split album, available now on tape and digital form Muzan Editions:
https://muzaneditions.bandcamp.com/album/bastian-void-endurance

Endurance - Starfont

https://pointless-geometry.bandcamp.com/album/dawno-temu-sacralia

Dawno Temu - Solo project of Agnieszka Bykowska, Polish sound artist and producer. While balancing between ambient, drone and minimalist music, she creates unique sonic sceneries centered around layered synth waves with elements of electroacoustic. Having spent nine years in Bydgoszcz, PL she has crossed paths with the improv scene. Played numerous shows across Poland, including appearances at festivals. Her main sources of inspiration are the notion of time, spirituality and emotional corners of human nature.

linktr.ee/dawnotemu
www.instagram.cwom/davnotemv

SACRALIA is the second LP from Polish sound artist and producer Dawno Temu.

Living within the realms of fast-paced reality we're bypassing the essence of "being fully in the moment". While so much dependent on the notion of time itself, we're sharing a collective fantasy of making the time dependent on us - to pause it, outstretch it, turn it back in order to experience something once again. Dawno Temu approaches that concept with both severity and sensitivity in her compositional process.

Each of six tracks on the album is like a ceremonial object for the performative aspect of careful observation that finds its fulfillment in rapture and emotionality. These objects in their historical meaning have been utilized as a means for establishing or maintaining communication between the sacred (the transcendent, or supernatural) and the profane (the secular, cause and effect). Rather than trying to fit a doctrine Dawno Temu celebrates subjective experience of the individual, points in time and space that are carrying an idiosyncratic, empirical gesture with them: light reflections, moments of pause, sources of pleasure - which are actually common experiences, bound with human nature - and sonically reinterprets them as manifestations of “the sacred” among “the profane”.

The sound of SACRALIA is raw and ascetic; euphoric, but full of reverie. Balancing between wide and dense, Dawno Temu carves her own path in drone and minimalist music. Meditative repetitiveness of structures, slowly evolving and dissolving form the frame of SACRALIA which leaves a room for serenity and reflection in both: herself and the listener. Improv strings ensemble, featuring guest appearance of Antonina Car and Joanna Szczęsnowicz (jablkagruszki) in EVERY PAUSE STRIVES FOR ADMIRANCE, together with synthesizer mimic chanting of a litany where all instruments gently pass each other by and only occasionally synchronize to speak with one voice. In her work process on SACRALIA, Dawno Temu focused on conjuring up certain feelings during long and immersive recording sessions with two synthesizers. This way, slowly forming unique shapes and imagery, she developed a somewhat emotional bond with the instruments, reminding of Éliane Radigue and her composing approach.

Composed and recorded by Dawno Temu (Agnieszka Bykowska) between 2022/2023 in Wrocław and Poznań
Track EVERY PAUSE STRIVES FOR ADMIRANCE composed and recorded by Dawno Temu (synthesizer), Antonina Car (improvisation on violin, baritone violin, cello), and Joanna Szczęsnowicz (improvisation on violin)
Mixed by Dawno Temu
Mastered by Adam Badí Donoval / www.instagram.com/adambdonoval
Artwork: Krzyś Bykowski, Iza Roko
www.instagram.com/krzys418
www.instagram.com/_zulaxo

SACRALIA

Dawno Temu - EVERY PAUSE STRIVES FOR ADMIRANCE (FEAT. ANTONINA CAR, JOANNA SZCZĘSNOWICZ) / POINT#56

Lorenzo Abattoir, Titled2

Alina Kalancea - Salt

Yannick Dauby 澎葉生 - field recordist, sound artist, sound designer - France/Taiwan

141018 David Toop & Yannick Dauby - Live in Taipei

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