Rebecca Lane, microtonal bass flute
Jon Heilbron, contrabass
Adam Asnan, recording
Samuel Dunscombe, mixing
excerpt from 2021 release on Another Timbre
http://www.anothertimbre.com/catlambmuto.html

Muto Infinitas (2016) Excerpt

Pre-Order
Release date: June 25, 2021

It might be easy to assume that the distinctly focused compositional voice unveiled on Rose Bolton's The Lost Clock is the product of its creator's rigorous, almost hermetic dedication to her own particular aesthetic universe. A quick survey of Bolton's artistic career, however, reveals that her carefully sculpted approach to abstract electronica has been forged through a longstanding engagement with a wide range of intertwining creative activities.

This album—coming out on Important Records' cassette imprint, Cassauna demonstrates both the Toronto-based composer's unique mastery of colour and her gift for breathing a tactile, organic quality into synthetic landscapes. Bolton's distinctive sensibility is akin to that of a painter—every hue has been carefully mixed so as to imbue its accompanying gesture with its own life and personality. This tangible dimensionality her electronic work assumes, however, can be traced back to the work Bolton has been doing since the 1990's. She has produced a large and varied catalogue of work that includes pieces for solo performers, chamber ensembles, orchestra, electronics, voice, and to accompany installations and films. A number of her works reside in several of these zones simultaneously, such as Song of Extinction, an ambitious collaboration between herself, filmmaker Marc de Guerre, poet Don McKay, and multiple live ensembles, that was mounted in an abandoned power station for Toronto's Luminato Festival.

This quasi-instrumental vitality isn't the only feature of The Lost Clock that reflects Bolton's diverse artistic practice. It can also be heard within the structural realm. Each of the collection's four tracks trace a patient unfolding and favour a certain roundness of timbre, even as finer details begin to fidget along the perimeter of the music. As with her writing for the concert hall, Bolton doesn't shy away from the evocative here, yet she doesn't pursue this poignancy through conventional, direct or quasi-narrative means. Her compositions lead the listener gradually through their impressionistic sonic scenery, but neither the path they take nor their ultimate destination are at all predictable. The ostensible gentleness each piece exudes dissolves as dissonances slowly insinuate themselves, obscure textures writhe just out of earshot, percussive lattice work materializes, or as the overall blend begins to exert a heavier weight. Her lucid-dream vision of form functions in tandem with her acute micro-level attentiveness to engender a vivid and elusive soundworld that resists classification.

Over more than two decades Rose Bolton has been garnering acclaim and enthusiasm from audiences and major collaborators alike. Last year, her brooding string quartet The Coming Of Sobs was nominated for Classical Composition of the Year at the JUNO Awards, following earlier accolades such as SOCAN Awards for Young Composers, and the Canadian Music Centre's Norman Burgess Fund. Her music has been commissioned by the likes of the CBC, stalwart experimental music festival the Sound Symposium, as well as key interpreters and ensembles such as percussionist David Schotzko, accordionist Joseph Petric the Esprit Orchestra, Continuum, Arraymusic, the Kitchener-Waterloo Symphony, and guitar quartet Instruments of Happiness (led by Tim Brady).

The Lost Clock

Rose Bolton - Unsettled Souls - from The Lost Clock - Pre-Order Now

Composed in 1996. 
Dedicated to Anton Lukoszevieze.
Studio recording made in 2004.
Apartment House: Andrew Sparling (clarinet), Anton Lukoszevieze (cello), Sarah Walker (electric organ).
From 'Chamber Works 1992 - 2009' (Another Timbre at74x2)

Chamber Works 1992 - 2009 [Disc 1]

Riis

Emma Grace
CRAVINGS OF PEGASUS
The third album, October 2021
A journey between organic and artificial soundscapes,
between verbal and non verbal sounds, with mythological guides and impulsive language. 

“Pegasus is the body that does not follow words, it is the one who doesn’t need to behave, the one who plays hide and seek when you’re not able to fall asleep. It is the urge to speak another language.
It’s there. When you finally trust yourself and the world around you.
It’s that voice that asks you to play in the mud, 
to sing,
and just be. ”

Composed and recorded by Emma Grace
Mastered by Capitano Merletti at Studio Garp
Video by Furio Ganz
Released by Pipapop Records

Album cover by Furio Ganz
Portraits by Alice Malingri
Made in Leccolimoni

Coda

Simon McCorry is a cellist and composer from Gloucestershire, UK who has released music through the likes of Polar Seas, Naviar and Rusted Tone. He has also been a regular collaborator, most recently with anthéne, with whom he created The Equation of Time, released here on Whitelabrecs in May 2021.
Simon has prepared a new solo album called The Illusion of Beginnings & Endings, which draws upon a body of work he composed for a contemporary dance film production.

For this release, Simon has worked once again with visual artist Tom Tebby, who has designed the packaging around imagery techniques using a camera and paper. The result provides a stark and obscure focal point, which projects itself into the cinematic textures of this album. The concepts and ideas behind The Illusion of Beginnings & Endings are based loosely around ambition. We all have different views on ambition and what this means for us, and the artist states that their preference is to live for the moment. This album reflects that this idealistic view on the world is at odds with a society that pushes us to constantly strive for a brighter future. To some, this is a grey cloak of fear; a fear of failure or underachievement. To others, taking stock might be hard.

The drama of this sound, its deep pensive cello, pulsing modular synth movements and transcendent piano, provides a space in which we can ponder upon our own ambitions. The lens through which we see ourselves may differ from one person to the next. Perhaps you will feel an urge to be present, or the opposite; an urge to feel vacant? Either way, the weight of our own ambition may feel that bit lighter as a result, as we decode the contents of this album.

-“You can never get outside it; you must always turn back. There is no outside; outside you cannot breathe. Where does this idea come from? It is like a pair of glasses on our nose through which we see whatever we look at. It never occurs to us to take them off”- (Ludwig Wittgenstein)

The Illusion of Beginnings and Endings

wlr103 Simon McCorry - The Illusion of Endings & Beginnings

Heterotopia

Speaking Spaces, No. 1: Heterotopia

"Seven Stones" is based on field recordings made in several different places in Japan.
Recorded sounds merged with digital and analog synths, bringing out the musician’s perception of these sound spots, starting from the recordings and spiraling them into seven tracks.
Akin to the dry landscape of a Japanese rock garden, each of the album's tracks, although is a piece in its own right, take part in a multiform story.
Hence the name “Seven stones”.


Arts by Pietro Michi
Mastered by Pietro Michi
Biodiversità Records

05 Garden Voices

Lock is a track from my latest album, Expanse. It's my most recently recorded music, completed in January and February 2022. It was made during a time of reflection and deeper understanding, new ideas leading to new discoveries. Emotive, peaceful and atmospheric, I hope the music helps bring some calm and space to everyone who listens. 

https://fieldswefound.bandcamp.com/album/expanse

All proceeds from the album will go to the charity Voices of Children in Ukraine to provide psychological and psychosocial support to children caught up in the tragedy of the events unfolding - much love and solidarity with you all x 
You can find more information here voices.org.ua/en/ or instagram.com/fieldswefound 

The artwork was made alongside the music using purely analogue techniques and will be available as limited edition of 25 handmade books which can be bought with the physical album. 

The books consist of eleven original artworks, two covers and one piece per track. Professionally printed on recycled paper and personally constructed using a handmade paper cover. 

All tracks produced using the following equipment, performed and recorded live to 1/4” tape on a Revox B77 Mk2. 

Fender Precision Bass, Yamaha acoustic guitar, violin, upright piano, E-mu Emax HD, Kawai K3M, Ciat Lonbarde Cocoquantus and Plumbutter, eurorack ‘easelʼ based on Mannequins and Make Noise modules, eurorack system based around Rossum Assimil8tor and ALM Squid Sample, Squarp Pyramid, Montreal Assembly/Bastl/Moog/OTO/Chase Bliss/Elektron/Eventide FX units, Roland RE-201, Nagra 4.2, Yamaha MT120S 
credits
released March 1, 2022 

Music, artwork and books by Fields We Found 

Thanks to: 

Ian Hawgood for the mastering and always bringing out the best in my music 
Craig Tattersall for the support and advice on the design and print layout 
Imogen for additional piano 
Clare, Imogen and Lucy for all the love and understanding x

Lock - from the album Expanse

Out now on Gagarin Records. Available to buy here:
markvernon.bandcamp.com/album/time-deferred

Followers of the artist Mark Vernon will note a subdued and pensive mood on this new record. Monochrome and sepulchral, these tracks are in a minor key, a key which opens the door to a damp cellar of the imagination. Too-many legged spiders crawl over dusty violins. Time lurches, loops and echoes like excursions on slow motion railways in reverse. Concrète noir sombre séances for non-believers. Tauntological voices from the past provoke us. Half guessed ghosts, magnetic phantoms from funereal-to-reel tape recordings. The sibilant persistence of the deceased evokes the exhausted dread of waiting for a medical test result. Enigmatic messages thrown to the werewolves with nothing but cheap medication and some breathing exercises for support.

Caution: this record can cause dreamless nights.

“Psychedelic visions, blackouts and blinding lights reveal an unusual, sick, and feverish musicality... here the gods come back from the dead only to ensure us an existence nurtured by the freezing rays of a black sun.”

Massimiliano Busti, Blow Up (Feb 2022)

A Coincidence Of Deceleration And Acceleration

Sama @ La Muse en circuit / sonic protest | Recorded by Maya Rosa

Samā‘ (from Turkish semâ) refers to spiritual hearing. It also refers to a roundabout dance of Sufi whirling dervishes. ACOUSTIC SPIRAL: The performance consists of a spinning loudspeaker that release drones in order to sculpt the sound space. These continuous sounds are developed beforehand in situ, depending on the resonance of the room. The spin draws an invisible spiral with the speed and length of cable given by the performer while revealing the acoustic properties of the place.

Sama @ La Muse en circuit / sonic protest | Recorded by Maya Rosa

6“ Lathecut flexicard of one song by Delphine Dora

Fifth postcard of the series,
this singlesided flexi is playable on most turntables.

19 copies only
comes with one pretty little silver badge

https://mmli.bandcamp.com/album/dilatation

Riis

Laurence Crane

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