After the Bend is the second album from Louisville based Flanger Magazine, and the follow up to FM’s 2018 debut, Breslin. Whereas Breslin was the solo creation of Christopher Bush, an album noted for “an astute synthesis of ‘library music’ and solo acoustic guitar,” and “a seamless blend into the uncluttered and airier side of classic 1970’s giallo,” After the Bend is an ensemble affair. An ecosystem, a perfect mutualism bodies forth—of strings, outdoor recordings, electronics, reeds, and percussion—featuring new FM players Anna Krippenstapel (Frekons (Freakwater + Mekons), The Other Years), Jim Marlowe (Equipment Pointed Ankh, Tropical Trash, Sapat), Eric Lanham and Benjamin Zoeller (both from Caboladies). The various combos perform with both a distinguished efficacy and unhurried Sunday drift—charged and beautiful, pulsating and pleasing. The production is subtle and tasteful. Mutating past the old saws of bounded individualism, a strange form of tentacular life accrues, cyborgian-fungral-tangles of the more-than-human variety. 

Robert Beatty’s cover art of otherworldly and interconnected river-scape gradients, coupled with song titles like “Reservoir,” “Falls Fountain Removed,” and “Sympathies for the River,” cue and clue the listener toward a river as a singular multitude analogue for the album. Interstitial gaps, clearings and openings give rise and merge into an accumulated flow from the tributaries of spirited improvisational performance, palimpsestic song cycles, and high fidelity studio production. The composite sound-image of After the Bend refuses to put both oars down into any one of the eddies of the folk, sound, chamber, electronic, or jazz idioms, and instead glides along the currents found within the slipstreams between.

Gathering samples, a River Doctor Limnologist inspecting the properties of After the Bend might note the specter of Leroy Jenkin’s free-violin heat-light deepin the water’s thermal stratification. Or mortgage the late-Maestro’s time with Gruppo di Improvvisazione Nuova Consonanza to pay down the growing river heat budget. Or take one’s dirty buckets to the banks of the 19th laundromat where Walt Dickerson plays his vibraphone parts from Divine Gemini with dowsing rods. Or excavate the bedrock in the drainage basin, noting skeletal remains of a Shostakovich string quartet attempting to tune up a Kentucky Fiddle’s subsequent influence on the chemical composition of the water. Or consult the historical revisionist reenactment troupe’s episode of Fishing with John (Fahey) in which Codona, The Sea Ensemble and Nuno Canavarro guest host as their fleet of paddle boats churn river water into a regal lager, and all the fish get drunk in their quest for the leaner enamel Hosianna Mantra GPS coordinates of the Fattened Herb.

Bush and Marlowe recorded and produced the album at End of an Ear Studios, located in the Portland neighborhood, in the west end of the city of Louisville, bordering the Ohio River, between Kentucky’s Upper South and the Indiana’s Midwest, during the first year of the global pandemic, amidst the planet’s sixth great extinction event. As good a time to be alive as any other -Kris Abplanalp

Vinyl/Digital available 05/12/22 on Students of Decay

Sympathies to the River

Sweet Harmony

TLF Trio - Passacaglia (Latency 022)

Paloma

Fleur d’Oranger (Rise)

my remake of lost is out now with three new tracks

goodbye

I Sommarluft (for clavichord, 2019) [Excerpt]

Loss Function

* PLEASE USE SPEAKERS, NOT HEADPHONES, BECAUSE OF THE INNER-EAR PHENOMENA INVOLVED. *

Thomas Ankersmit’s new album for Shelter Press “Homage to Dick Raaijmakers” is an all-analogue electronic music composition inspired by legendary Dutch composer / electronic and tape music pioneer / multimedia artist Dick Raaijmakers (1930-2013). The work takes inspiration from Raaijmakers’ music from the 1960s, his texts on sound composition like “Cahier M”, and notes on his own music.  On this recording Ankersmit plays Serge Modular feedback and sine/pulse/random generators, contact mic, and tape speed variation.

Mirroring some of Raaijmakers’ work, Ankersmit plays his Serge synthesizer as a kind of weather system. He references storms, thunder, crashing and falling objects, and distant radio transmissions in his electronic sounds, as well as dragging a contact mic across his equipment. Despite the abstract nature of the material, a sense of loss or mourning sometimes emerges from the music.

With his homage Ankersmit re-contextualizes Raaijmakers’ ideas about electric sound, composition, and spatial experience. Like Raaijmakers himself Ankersmit exclusively uses analogue devices, such as sine/pulse/random generators, modulators, filters, and especially feedback processes between them.

The music focuses on the sounds of raw electricity through creatively abused electronics, composing with analogue micro-sounds, and the creation of three-dimensional sound fields.

The piece also uses tones produced by the listener’s own ears, inspired by Raaijmakers’ thoughts on “holophonic” sound fields to be individually explored by the listener. With this phenomenon, the listener’s inner ears actively generate sounds that don’t exist in the recorded signal, and which can change with a small movement of the head.

“Homage to Dick Raaijmakers” was commissioned by Sonic Acts and was premiered live at the Stedelijk Museum in Amsterdam in February 2016. Ankersmit also dedicates the work to his father Thijl Ankersmit (1947-2016), who first demonstrated feedback to him. 

Mastered and cut by Rashad Becker and pressed on 140g vinyl housed in reverse-board outer and inner sleeve. Out in September 2018 on Shelter Press on LP / CD / DL.

Homage to Dick Raaijmakers

THOMAS ANKERSMIT 'Homage To Dick Raaijmakers (Extract)' (SP096)

Taken from the compilation ALERT! out 19/04/2019.

Order here: alter.bandcamp.com/album/alert

Anna Peaker - Helicidae (ALT50)

READ > https://inverted-audio.com/feature/in-perspective-radiante-pourpre

Resurfacing with the followup to their eponymous first LP, originally released in 2014 and pressed to vinyl for the first time two years ago, French outfit @radiantepourpre return to @antinote-records to land the second volume of their groundbreaking sonic adventures.

Radiante Pourpre - Mala 800 [Antinote]

MWT002: Perila, 'Dust 22'
Release Date: December 20, 2019
Formats: Cassette / Digital
Artwork by: Sasha Zakharenko and Jesse Sappell
Purchase: https://motionward.bandcamp.com/album/perila-dust-22

Perila is the project of artist, DJ, and radio.syg.ma co-founder Sasha Zakharenko. Over the last few years she's been exploring themes of intimacy and the more elusive layers of reality through mixes and recently her own music; turning to sound as a means of getting in touch with and transmitting life shifts. I'm honored to share her evocative debut EP for Motion Ward, 'Dust 22'. The cassette features a 21 minute live take alongside three songs that occupy a similar state of feeling.

~

One day you feel
overwhelmed. 
Then this pressure 
dissolves and becomes 
dust. 
Intimate layers of what is 
real and not resurface. 
Dust dissolves in silence 
emptying spaces for 
change. 
Sounds ripple and float
shaping forms which 
disappear after hearing them
as if they were never there. 
You were never here. 
Slow drifts on a surface
of ephemeral reality. 
Life is dust cruising 
quietly in the mind of an observer.


https://soundcloud.com/perila

MWT002: Perila, 'Dust 22'

Taken from album 'Forma' released as LP and Digital

Lucy Railton 'Forma' (excerpt) (SPGRM 002)

Independent record label estalished in 2013 in Paris.

TLF Trio - Passacaglia (Latency 022)

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