Like the distant feel to the bells/chimes, great stuff

ChaptersAC464

With a strong interest in geology and biology, Takahashi started imagining the landscape and life of the Earth in prehistoric times based on fossils and illustrated books, later used as inspiration for his compositions. At first sight, these images make it easy to envision the ecosystems and environments of prehistoric Earth as so distinct from those of today that they could almost be seen as different planets. Living through the pandemic, when Takahashi first started composing the songs, made him rethink his initial thoughts. 

“The Palaeozoic era was a time of extinction, of prosperity and decline. When I think ab out these facts from geology, they are quite spectacular. But I felt that this cycle is still happening today, b ut on a different scale. If you think about the time before Covid-19, people were very active and free to move around. It was with this in mind that I set about writing the music, imagining what it would be like to overcome the social upheaval of Covid-19." 

It's the similarities between his initial analogy and the new pandemic reality that ultimately formed the main context for Paleozoic. This led Takahashi to make an album which sonically reflected the sequence of Paleozoic: starting from a time when life flourished in the sea ,before the arrival of life on land, to the gradual arrival of plants and insects on land and the end of an era due to change. 

In order to create a more vivid representation of the life force and grandeur of nature, Takahashi decided to forgo his signature lo-fi production style of using GarageBand on his Iphone. For this, he enlisted the help of sound engineer, producer and Atoris bandmate Kohei Oyamada with the mix and arrangements, resulting in a highly evocative, expansive sound palette. 

“With his techno sensibility and sound engineering skills, he was able to bring me closer to the sound I've been chasing, which is full of mystery, life and images of a wild and simple time. This record is the first step in my work with him and the foundation for further progress." 

The result is a fascinating journey through imaginary landscapes infused with great dramatic affect and an acute sense for details across sweeping drones and electronic glistens. 
credits
released April 29, 2022 

Composed by H. Takahashi 
Mix & arrangement by Kohei Oyamada 
Mastered by Taylor Deupree (vinyl) and Kohei Oyamada (digital) 
Artwork by Alicia Carrera

Emerald

Loops of your heart - Cries (2012)

Valley Girl was inspired by the agriculture and landscapes of Oakland, California and its  horizon of rolling hills. The peaks and valleys of the album's landscape are made of fifteen computer generated tones that cycle through melodies driven by ambisonic surround-sound locations to define space.

Computer tones were treated with phase-modulation of triangle waveforms to control the duty cycle of the sine tone. This created a prickly crispness and coiled release that enabled frequency registers to shift back and forth with various levels of control. I used my voice and vocal harmonizer with a midi arpeggiator to make a gated succession of notes in a more controlled frequency range.

The computer material was recorded live with little editing besides the addition of silence to accentuate vocals as a separate entity. The voice was then placed in the silences - or valleys - between melodies. The vocals were recorded live to tape from a parallel practice of recording processed voice improvisations with electronics.

Valley Girl evolves from the synthetic sounds I have been generating on computers for the past several years. When I perform live it typically involves computer synthesis. With the addition of processed voice in the silent spaces of the album five pieces, I have in a way marked the topography of Valley Girl with human traces.    - Madalyn Merkey, 2014

       

Madalyn Merkey - Archipelago

Craig Leon - Nommo

Purchase from RVNG: http://smarturl.it/cleon-aifmv1-rvng
Purchase from Bandcamp: http://smarturl.it/cleon-aifmv1-bcamp
Purchase from iTunes: http://smarturl.it/cleon-aifmv1-itunes

Taken from Anthology of Interplanetary Folk Music Vol. 1: Nommos / Visiting.


Buy 

Craig Leon - Nommo

"if" is a haunting and beautiful piece that captures a wistful, melancholic mood, written for the fictional short film "In the rain, on a street corner".

"if" features a repeated piano melody and intertwining glockenspiel and wind instruments, with emotional resonance and minimalist storytelling. This piece will stir something in you and leave a lasting impression.

credits
released May 5, 2023
Cover Artwork by SETH BLACK
all instruments, program,
produce and mastered by Setsuya KUROTAKI

How 'bout no

This is a collection of dark, ambient dronescapes created entirely with outboard synths and guitars. These edgy, unsettling and tense tracks are perfect for those spots where more "musical" drones or standard production music fare is inadequate to capture the desired emotion.

The Devil's Pogostick

Music from the forthcoming EP by Luke Abbott and Jack Wyllie of Portico. 

Released via Buffalo Temple (BFFT003) on 25th September available on 12" vinyl and digitally.

Etxeberri

Dance Four

http://elliotbergman.bandcamp.com

Peace Bells is a glimpse into the multi-layered world of artist and musician Elliot Bergman. The cassette, reissued by Leaving Records, was recorded over a weekend at the Felix Art Fair in Los Angeles, in the booth of Shane Campbell Gallery. Over the course of several days, Bergman gave durational performances utilizing his collection of self-made instruments, which he looped and layered into the music you have on this tape. For the past 15 years, Bergman has been building amplified variations on the African Mbira, which he refers to as Metal Tongues. He has also been making Peace Bells, from melted guns and bullet casings. Using this rich collection of instruments as source material, he builds looping and layered soundscapes that evoke comparisons to Moondog, Reich, Bertoia, Eno and Konono No. 1. These rhythmic and otherworldly textures range from minimal and meditative to driving and danceable.

Elliot Bergman - On The Table

Leaving Records

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