Taken from the new album "Another Presence"
Stream or purchase the album: album.link/i/1608332444

All tracks written and produced by Mathias Hammerstrøm in 2020.
Mastered by Simon Scott at SPS Mastering.
Cover design by Oleg Galay
Thanks to: Mikkel Schmidt, Mari-Ann Memborg, Anne Grete Aagaard, Claus Gahrn, Thomas Knak, Simon Scott.

OUT NOW

Amphior - Pathfinder

Thaw

Allvaret

A beautifully ethereal track from the Antonina Car album, Immersed Sensibilities.

Immersed Sensibilities

Antonina Car, Immersed Sensibilities "Reveries"

picture no. 1 | Album 'PICTURES, MINUTES AND SECONDS'

Sævar Jóhannsson is an award-winning pianist and composer based in Reykjavík, Iceland. His music explores the full spectrum of human emotion and experience; at times melancholic, but also playful and warm. Through his composition he ponders questions such as, ‘Do our places of origin matter—and what is our relationship with them?’ There’s a well-known German saying ‘Ich bin Weltbürger: überall zu Hause, überall fremd’ which roughly translates to ‘I’m a world citizen: I am everywhere at home and everywhere a stranger’. Sævar believes this is a phrase which describes him well; London his birthplace, being partly raised in Germany and now residing in Iceland. Jóhannsson has released four albums to date, including work as S.hel on Whitelabrecs with 2020’s ‘Disconnect’ and ‘RAMMI’ in 2021, in which he collaborated with Mikael Lind. His most recent album ‘Whenever You’re Ready’ was the first album under his own name and was distributed by Sony, winning the 'you should have heard this' award from the Reykjavík Grapevine Music Awards in 2023. 

With each album Sævar builds and expands on the last, exploring new styles such as ambient electronics, prepared piano techniques, complex rhythms inspired by his jazz background, and lush string arrangements. Alongside his solo work, Sævar has composed and produced original music and accompanying soundscapes for three major theatre productions. He also created the score for the documentary 'Ég Sé Þig' by Anna Hildur Hildibrandsdóttir.

‘Where the light enters’ is a collection of 12 solo piano pieces, inspired by thoughts of how our wounds affect us and are themselves unique storytellers. There’s a Japanese pottery repairing technique called kintsugi where broken things are glued back together using gold, silver or other similar materials, the idea being that the cracks make the object beautiful and unique and should therefore be visible. However, Sævar also contemplates the wounds we do not see. In Jóhannsson's mind the decision to have just solo piano reflects self-care, or simply put, giving yourself time with yourself and your thoughts or problems and rather than try to solve or interact with them, let them gently pass you by. The album, although following a structured framework, is also partly improvised, letting things unfold as they are without prejudice or expectations.

Where the Light Enters

wlr140 Sævar Jóhansson - Where The Light Enters

King Solomon's Temple  - Francis Frazier 1954

Now available on tape, and as a pre-order on CD. 

Recorded by øjeRum (Paw Grabowski; https://soundcloud.com/oejerum).
Post-production by Andrew Chalk.
Mastered by Jos Smolders (EARLabs). https://soundcloud.com/earlabs

Released on glass-mastered CD in a 6-panel digipak, featuring 7 collages from øjeRum’s Silent Figure With Landscape series.

An Image of a Bird Seconds Before It Appears

øjeRum – An Image of a Bird Seconds Before It Appears [first 6 minutes]

EnCOUTnTErs - The Avian Speculative at Cafe Oto, July 25, 2018.
Also performing: Lee Patterson and Sharon Gal. 
Pic by Sonia Levy/SoundFjord
Recording: Hear and Now, BBC Radio 3.
July 25, 2018.

Set - EnCOUnTErs - Cafe Oto, July 25, 2018 - recording thanks to BBC Hear and Now Radio 3

Our Ancestors Are Like Trees That We Sow In Soil From The Sea

Full Story + Photos: https://acousticnature.com/journal/field-recording-trip-vermont-ice-storm 

I recorded this soundscape at my friend's cabin in Vermont near the Green Mountain National Forest. The forest was covered in a thick layer of ice from a recent freezing rain storm. 

While I was chopping wood, I noticed the sound of ice crystals falling to the forest floor and shattering. The sound was constant and gusts of wind caused larger crystals to fall. 

As soon as I became aware of this subtle sound, I knew I had to record it. Because I didn't know how much battery life I would get in the frigid temps (15°F), I waited until 11pm to setup my recording gear. I did this to maximize my chance at a noise-pollution-free recording hoping that most people would be asleep.

To setup the recording I wanted to bungee cord my binaural microphone to a tree, but it was too difficult and too cold to have the patience necessary to get it right. Instead, I simply put the microphone on top of a snow bank facing the forest and the D100 in a dry bag next to it.

I was shocked to find the D100 still recording when I returned at 7:26am.

In total, I recorded for 8hr 22min and ended up with 23min of usable audio (≈4.6%). In post-production, I added a lo-cut filter at 180Hz, 12dB/octave to remove some low-frequency wind rumbling, and increased the loudness slightly to -30LKFS. 

Recorder: D100
Mics: DIY Binaural Housing
Sensitivity: 4
Lo-cut: OFF
Time: 11:04pm
Wind Protection: 2 Winter Hats

To learn more about me, my gear, or field recording in general, please visit my website at www.acousticnature.com

Thank you for reading and listening. ♫
-Jared

Our Ancestors Are Like Trees That We Sow In Soil From The Sea

Lapith Girl

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MajaUlva

Sleeping Narasimha

IUNA NIVA

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Our Ancestors Are Like Trees That We Sow In Soil From The Sea

Lapith Girl

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__Maja__Ulva

Sleeping Narasimha

IUNA NIVA

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MajaUlva