A new collection of work titled 'Sodium Light' from myself has just been released on Lee Norris's excellent NeoTantra label. The work was inspired by a series of night walks my daughter and I took towards the back end of 2019; pre all the states we find ourselves in at the moment. It's an impressionistic work of night-time cityscapes. Mastered by Fraser McGowan.

Sodium Light

Night #2

'Night #2' - Taken from the release 'Sodium Light' - [Neotantra, 2021]

Alma

~ LAAPS 023 ~ [SEQ.03 - LP23]

artist : Seabuckthorn
 album : Of No Such Place
duration : 39.34 mn
 date : November 04th, 2022

edition :
-  vinyl : limited to 200 copies / solid silver LP / hand numbered 
- cd : limited to 200 copies / hand numbered + handcrafted, sealed

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pre-order : October 07th, 2022 / official release : November 04th, 2022
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Guitars, field recordings, clarinet, tongue drum, cymbals, effects and mixing by Andy Cartwright.
Double bass on 1,2,3,5,6 by Phil Cassel.
Recorded at home between March and April 2022 in Veynes, France.

Mastered by Ian Hawgood
Cover photo taken by Andy Cartwright in Le Dévoluy in Oct 2021.
 Design by Sprflxgrfzm

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Links :
https://laaps-records.com/
https://seabuckthorn.bandcamp.com/
https://seabuckthorn-music.com/

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℗ & © 2 0 2 2 - L A A P S - L A A P S  0 2 3

Seabuckthorn - Hand In The Upward Sky

DR-83; DAVID CORDERO & MIGUEL OTERO - A Possible Distance is due out on CD / DL October 14th

dronarivm.bandcamp.com

The world is undergoing severe social and political changes in a short time that has taken individualism to the far extreme.

For this reason Possible Distances is a reflexion on the gap between human relations and everyday life; distance and closeness. The immediacy and the small personal moments that make us feel even more alone.

Written in the distance, Cordero and Otero build a bridge between their recording studios with minimalist melodies wrapped in luminous skies to enhance common places while nature takes its course.

After Salinas (Archives, 2020) and Distension (Playneutral, 2021), this work together brings us the kindness of small daily details.
credits
releases October 14, 2022

Written and produced by David & Miguel in Cadiz, south of Spain
Mixed & mastered at Nada Nueva Studio
Illustrations by Eva Arango

A Possible Distance

Buy CD / DL

DAVID CORDERO & MIGUEL OTERO - Everyday Things

Following on from 2021s ‘Sodium Light’, ‘Brick and Air’ is another reflective and reactive collection of pieces that show an active engagement with the environments in which we live. In early 2021 Greig moved his family into a new home in a relatively unexplored area of town and was immediately struck by the aesthetics of the location both in sight and sound. The work that followed was all a reflection of this urban space that Greig and his family found themselves. Inspired by countless walks, a few outside recording sessions and sessions of photographing the new locale, Brick and Air was almost diaristic in its evolution. An ode to distant traffic noise and the hum of air-conditioning outlets behind shopping precincts. 

• All tracks written by Greig Baird for Moss Covered Technology 
• Field recording used on ‘Brick & Air V’ provided by Liam Hawe 
• Mastering - https//www.volume-objects.com

Brick and Air

Brick & Air IV

'Brick & Air IV' - Brick and Air - [Audiobulb, 2022]

Broken Clock Radio - Glitch -Core Ambient - DARK Soundtrack (XI)

The End Of The Book is a large, majestic orchestral composition that marks not an ending, but a new beginning.

THE END OF THE BOOK

Feel the warmth and heartbreak of the 1980's

Shadows

Postcard 38 comes from Mind over MIDI aka Helge Tommervag. Based in deepest and darkest Norway, Helge has been working with electronic music since the beginning of the 80's and over the years has graced many labels including Beatservice, Silent Season, Beserk Fabric and diametric. On his postcard EP for us at hibernate, Helge pays tribute to his natural surroundings where strong, chilly winds blow and die down to allow gorgeous atmospheric material to shine through.

A limited edition of 60 hand-numbered 3" CDr collectible copies. Available from hibernate-recs.uk

Mind over MIDI /  Tussmørke (Snippets)

Federico Mosconi - Memories Not Memories, taken from the new album "Light not Light"

Format: Digital and CD
Limited Edition Cdr / 50 copies / Handmade sleeves / Hand numbered / Black and Brown Kraft paper / High quality pro duplicated CDr's / No repress 

Pre Order: https://shimmeringmoodsrecords.bandcamp.com/album/light-not-light

In Light not Light, as the titles suggest, each track could be, or not be, each draws a scenario where the listener is the subject, and the composer has already completed his task. 
The sound, too, comes from an instrument (classical guitar) that is no longer itself, shaped and transformed by electronics into its future projection. Sometimes you can find traces of natural sounds, as if to preserve a connection with the original idea, sometimes I inserted some field recordings, as little suggestions. 

Federico Mosconi

Releases February 20, 2019 

Written, produced and mastered by Federico Mosconi 
Federico Mosconi: classical guitar, live electronics/processing 
Shimmering Moods Records 2019

Federico Mosconi - Memories Not Memories (Taken from "Light Not Light")

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

Immaterial excerpt

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each release start with the end of the previous one.
in sounds and visually. 
an exquisite corpse with 100 releases which will make the loop.
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Seabuckthorn - Hand In The Upward Sky

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