This track was featured on the Experimental Music SCplanner network by @bivouacrecording . Message me for info.

In his book 𝑇ℎ𝑒 𝑊𝑒𝑖𝑟𝑑 𝑎𝑛𝑑 𝑡ℎ𝑒 𝐸𝑒𝑟𝑖𝑒, Mark Fisher wrote about the two notions: While the weird is something present where it doesn’t belong—something from outside found on the inside—the eerie has to do specifically with outside space. Something is eerie when there are unanswered questions about agency: Who or what is responsible for the abandonment of this zone? Who or what is crying out in the distance?

Katharina Schmidt’s 𝑇𝑒𝑛𝑛𝑖𝑠 𝐶𝑜𝑢𝑟𝑡𝑠 𝑖𝑛 𝑡ℎ𝑒 𝐻𝑎𝑙𝑓 𝐿𝑖𝑔ℎ𝑡, a single, longform track stretching to a near half hour, deftly captures this spatial sense of the eerie. The evolving drone is like coming upon a ruin, circling it, and being drawn inside. There are no surprises, no sudden horrors, just the strange pull of oscillating waveforms that paint a bleak yet soothing landscape.

In certain kinds of listeners, empty, abandoned spaces produce a pleasurable dejection. Maybe this is because spaces where human life is evacuated represent the end result of capital. (It seems to have withered away, but is in fact off to find another shell for its home.) What we’re left with is something new to inhabit, a new infrastructure for freedom. The subtle changes in Schmidt’s recording have less to do with melody and rhythm, more to do with accumulating color and texture of space. And so the half hour can feel like five minutes, or an eternity—time and scale exist differently here.

---

After years of playing drums and piano in various bands, Katharina Schmidt's solo work is influenced by indie, experimental, and improvised music. Exploring interests in storytelling, sonic topographies, and generative techniques, her music uses electronics, field recordings, and self-built interfaces alongside acoustic instruments. From sonifications to lullabies, her work is poised between formal experimentation and narratives cued by literature and pop culture, and can be heard in installations, film music, and radiophonic pieces, as well as releases on labels such as Flag Day Recordings, Slaapwel Records, and Focused Silence.

Katharina holds a master’s degree in Sound Studies from the Berlin University of the Arts and hosts resident shows at Cashmere Radio and SVS Radio.

katharina-schmidt.net
katharinaschmidt.bandcamp.com  

artwork by Stefan Lingg
audio finalized by Glyn Maier

all proceeds to The Homeless Period Project (Greenville, SC, US) - www.homelessperiodproject.org

Tennis Courts in the Half Light

Katharina Schmidt - Tennis Courts In The Half Light [Excerpt] (ENMD03)

Following on from the 2016 Korea Undok Group compilation LP Penultimate Press is proud to release the follow up, Senescence. Covering material recorded in the last two and a half years, this new cd comprises 50% works previously available on private tiny run cassettes and 50% works made for an abandoned lp. Abandoned being a good word to use again here as this collection of barley-there trace element songs and decaying acoustic snapshots will leave the listener with a sensation not so dissimilar to the feeling abandonment conjures.

Please note there has been zero mastering on this release as we wanted it to sound as shit as possible.

Fixed Ending

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)

Goddaughter - Goddaughter C38. Available Summer MMXXII
Echoes of music smeared with urban field recordings from NY's Weston Czerkies (Magnetic Coroner / Prime Ruin). Simply GORGEOUS! Limited to 80 copies with screen printed artwork.

Goddaughter - Goddaughter C38 (Excerpts)

KASSEL JAEGER 'Shift In Dreams' (SP144)

From the album 'Shift In Dreams', out on Feb. 24, 2023 on Shelter Press
Order: https://kasseljaeger.bandcamp.com/album/shifted-in-dreams

Music composed and performed by François J. Bonnet
Artwork by Eléonore Huisse
Mastering by Giuseppe Ielasi

Shifted In Dreams

KASSEL JAEGER 'Shifted In Dreams' (SP144)

Abrasiv Jam

:zoviet*france: - Montag

Recorded live at Wave Gotik Treffen, Volkspalast Kantine, Leipzig, 29 May 2023

zf20230705aif

Released as a free download (AIFF 16/44.1) 5 July 2023

© 2023 copyright control

Montag

https://ultraeczema.bandcamp.com/album/beach-jolanda

Stilluppsteypa (Beach Jolanda B side)

The music of Naarm/Melbourne composer Lisa Lerkenfeldt channels a unique wavelength of foreboding, interstitial electronics, incorporating strategies of musique concrete threaded with veiled currents of melody and hypnosis. Recent recordings for Vienna Press, Longform Editions and Aught Void have demonstrated different depths of process and finesse but her latest, Collagen, captures perhaps the most complete and complex manifestation of her craft to date.

Drawing on a disciplined palette of peach wood combs, contact microphones, piano, strings, and feedback, the album moves in low, looming arcs, ascending to strange purgatories of opaque atmosphere. Lerkenfeldt cites a core aspiration to “elevate the everyday,” transforming common objects into otherworldly sound sources, which colors Collagen with a beguiling tactility, like vibrations traced in sand. The tracks shift in frequency and feeling, alternately heady and bodily, acoustic and synthetic, isolated states of static, light, and undertow skirting the outer rings of ambient, noise, and modern composition.

Although each piece exists in its own rare air the composite panorama they present is striking in its sweep and subtlety. Lerkenfeldt's muse seems one of evasion as much as evocation, navigating negative spaces for their subliminal whispers of dread or beauty. It's an aesthetic both ascetic and exploratory, minimalist mirages of resonance, texture, and gravity skewed through the pensive glow of room tone.

But Lerkenfeldt is too versatile an artist for purist restraint, which Collagen demonstrates dramatically in its closing cut, “Champagne Smoke.” A quivering bowed eulogy ebbs under a flickering film of distortion, slowly swelling in sorrow until suddenly the screech goes silent, revealing a murmuring phantom haze hidden beneath the strings, like a specter lost in an abandoned house.

14 Gestures associated with this album will be performed in experimental film and online viewing room of graphic notation at 14gestures.com from 29th July to 29th October, 2020.

Collagen releases on Shelter Press in LP / DL format on August 21, 2020. LP mastered and cut by Kassian Troyer at D+M, designed by Bartolomé Sanson with art by Lisa Lerkenfeldt, housed in reverse-board inner and outersleeve, including a 16 pages limited edition score book.

LISA LERKENFELDT 'The Weight Of History'

Taken from 'Rhythmic Landscapes', out now on Takuroku - www.cafeoto.co.uk/takuroku

"I wanted to make something which reflected a scene of nature, outside of the city, somewhere which has become more and more attractive to be over the last few months... So I made these synthesised percussion sounds to be almost real and wooden, which are weaving in and out across different tempos, playing patterns that are somewhat regular, but always changing slightly. This is meant to be analogous with the dawn chorus, or any scene of nature where lots of different small events are happening, layered, at once... But I only had the dawn chorus, so I recorded that at 4am on Monday morning. These individual bird songs weaving in and out, repeating, different birds joining and leaving throughout. So it's meant to be 3 different sound environments, or imaginary frames of an environment at 3 different moments." 
- Cam Deas

TR049 - Cam Deas - 'Rhythmic Landscapes 2'

A foretaste of the upcoming Album, winter 2021 (-OUS Records).
_______
Mastering by VFBM 
_______
Immersed in an amniotic atmosphere, we are invited to bathe in the atemporality of the world before birth.

Against a liquid sound background, horizontal sounds intervene that cross space at full speed, stretching time in their course. The speed with which they intervene has the effect of an arrow shot in the direction of a distant future, which brings us back to a linear, horizontal, narrative, historical time, that is to say, to the ordinary world perceived as a successive sequence of events.

The transparency and weightlessness of crystalline sounds act like seraphically elements that connect the fantastic and earthly worlds. At the same time, anecdotal sounds that remind us of specific moments in our lives cross our mind -- liquid, metallic, soft, subtle sounds -- and dense drones mingle to create an experience of their own, each one embedding itself in the personal experience of the listener.

From the beginning we were immersed in this atemporal amniotic atmosphere and then there was the birth, the irruption into the world, history began. We plunged into time to look for the origin, to deepen the story, to understand.

Buy Digital Track

Ne parle pas de secrets

www.leabertucci.bandcamp.com Please buy my music
UPCOMING SHOWS
3.16.22 - Roulette, NYC - solo and duo with Ben Vida
4.5-6.22- Cafe Oto two night residency with Ben Vida
4.17.22 - solo at Presences Electroniques Festival, Radio France, Paris

Of Shadow And Substance (Excerpt)

Lea Bertucci

Recent comments

Bivouac Recording

ARTSAVA / АРЦАВА

ellestad

Related tracks