Self

ambient

felicia atkinson

Stream & pre-order the album: https://idol.lnk.to/aura

Japanese voice artist Hatis Noit announces her much anticipated Erased Tapes debut album Aura, out June 24, by sharing its wordless yet universally speaking title track as premiered by Mary Anne Hobbs on BBC 6 Music. Astonishingly all songs on the record were created using her voice only.

The album title Aura was inspired by the German philosopher Walter Benjamin who used this term to describe the fundamental essence of art, which he believed is strongest in its original form, only happening once. Hatis agrees with this particular aspect as she realised, “during the pandemic, I really struggled. As a singer, I’m not very good at working on the computer. I much prefer doing live performances in physical spaces. Being with people, sharing the same space with them and feeling the atmosphere and energy of that moment, inspires me every time. To me, art is that — that shared moment.”

The name Hatis Noit itself is taken from Japanese folklore, meaning the stem of the lotus flower. The lotus represents the living world, while its root represents the spirit world, therefore Hatis Noit is what connects the two. For Hatis, music represents the same netherworld with its ability to move and transport us to the other side; the past, a memory, our subconscious. Through this first offering, Hatis Noit revokes a haunting memory of getting lost in a forest in her birthplace Shiretoko, Hokkaido.

“One to watch: Hatis Noit — with her ethereal crossover of mystical and modern, this Japanese artist has been moving audiences to tears” — The Guardian

Aura

Hatis Noit - Aura

Fenêtreproject
We wanted to be better & ended up being happy 
LUX EDITION

http://www.ofluxo.net/we-wanted-to-be-better-ended-up-being-happy-lux-edition/

Background ambient for Fenêtreproject's special feature on O Fluxo.

Felicia Atkinson — 'APOEMAS'(Background soundpiece for Fenêtreproject's special feature)

From the album EARS released April 1st 2016 on Western Vinyl

iTunes: http://hyperurl.co/gz5pqt
Bandcamp: http://hyperurl.co/vo3n6n
Amazon: http://hyperurl.co/qypau1
WV: http://westernvinyl.com/shop/wv145

Artist Page http://westernvinyl.com/artists/kaitlyn-aurelia-smith
Website http://kaitlynaureliasmith.com/
Facebook https://www.facebook.com/kaitlynaurelia/
Twitter https://twitter.com/kaitlynaurelia
Instagram https://www.instagram.com/kaitlynaurelia/

TOUR DATES
April 	28 - Fayetteville, AR - George’s Majestic Lounge w/ Animal Collective
April 	29 - Austin, TX - Levitation
May 	01 - Tulsa, OK - Cains Ballroom w/ Animal Collective
May 	03 - St. Louis, MO - Pageant - St Louis, MO w/ Animal Collective
May 	04 - Royal Oak, MI - Royal Oak Music Theatre w/ Animal Collective
May 	06 - Nashville, TN - Marathon Music Works w/ Animal Collective
May 	07 - Atlanta, GA - Buckhead Theatre w/ Animal Collective
May 	08 - Asheville, NC - Orange Peel w/ Animal Collective
May 	10 - Washington, DC - 9:30 Club w/ Animal Collective
May 	13 - Wilmington, DE - World Café Live at The Queen w/ Animal Collective
May 	14 - Sayreville, NJ - Starland Ballroom - w/ Animal Collective

Listeners familiar with Kaitlyn Aurelia Smith's previous album Euclid (an album that prompted Dazed to call her "…one of the most pioneering musicians in the world.") will no doubt notice her heavier use of vocals on her new album EARS.  On all but one song, her gently ecstatic swells of vocals emerge to soar over a dense jungle of synths and woodwinds.

After initially composing on a Buchla analog synth, she wrote arrangements for a woodwind quintet, added vocals, and further refined the pieces with granular synthesis techniques she developed in her sound design work (she contributed sound design to Panda Bear's "Boys Latin" video, and handled sound design and original compositions for Brasilia co-written by and starring Reggie Watts).   

Kinetic arpeggios of synths pulse, often buoying her graceful vocal mantras, while woodwinds breathe and flutter, emulating the wildlife Smith observed while growing up on the West Coast (she even studied recordings of slowed down bird calls prior to composing these pieces).   Though some of her gestures echo the musical tropes used by early minimalist composers, the world she creates on EARS is uniquely hypnotic and full of life, not unlike Miyzaki's film Nausicaä, which she cites as an inspiration.

Kaitlyn Aurelia Smith - "Existence In The Unfurling"

Nepenthe

The Harbinger

http://www.liquidarchitecture.org.au/program/sound-spaces-felicia-atkinson-gail-priest/

The future is hard to see from here, but perhaps we can hear it coming.

Sound Spaces
5 Aug 2017
Monash University Museum of Art, Melbourne

Presented by Liquid Architecture and the Monash University Museum of Art | MUMA

Parisian-born Félicia Atkinson is a visual artist, an experimental musician and the co-publisher of the independent imprint Shelter Press/curatorial platform Argument with Bartolomé Sanson. Her work deals with the topics of improvisation, fiction, instant composition, noise, abstraction and poetry. Her music is composed of concrete music, asmr voices, electronics, field recordings, improvisation with guitar and piano, abstract distortions and infra bass.

At Sound Spaces, Félicia presented a new work for voice, electronics and found sounds called 'Vermillion' which responds to the exhibition 'Future Eaters' by drawing on J. G Ballard’s collection of essays 'Vermillion Sands' (1971). Rooted in her experiences of deserts this live set will be escapist, textual and at times concrete.

Félicia’s recent album 'Hand in Hand' has generated a great deal of curiosity, excitement and intrigue, with Fact Magazine writing “the dying bleat of obsolete technology, the crack and stutter of her own voice, the atonal clatter of intuitively-played instruments – and sculpts them into flawless vignettes that lodge themselves deep in the psyche. Like the dystopian science fiction it references, Hand in Hand is bewitching, intense, meditative and at times, deeply unsettling.”

shelter-press.org/

SOUND SPACES is a performance series of experimental and improvised music organised by Francis E. Parker for Monash University Museum of Art. The series runs in parallel with MUMA’s exhibition program with occasional direct dialogues with particular exhibition projects.

LIQUID ARCHITECTURE is an Australian organisation for artists working with sound. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.

Live at Sound Spaces (Liquid Architecture)

Physical: geographic-north.com/cassette/coyotes/
Digital: geographicnorth.bandcamp.com/album/coyotes
Catalog #: GN49
Cassette, limited to 100

Félicia Atkinson is a composer, sculptor, painter, poet, and publisher from Rennes, France. Atkinson has led a fruitfully fantastic run of eerily blissful, serenely euphoric sounds. Whether under her own name or via her defunct recording pseudonym Je Suis Le Petit Chevalier, Atkinson has released work on Umor Rex, Digitalis Limited, Aguirre, and Shelter Press, an imprint co-run with Bartolomé Sanson.

‘Coyotes’ is an EP inspired by Atkinson’s last voyage to New Mexico in February 2017, when she visited and took in the geographic landscapes from Taos to Ghost Ranch. The same vistas also inspired much of Agnes Martin’s and Georgia O’Keefe’s painting, as well as Jerome Rothenberg’s poetry and translation’s works.

Atkinson describes a ‘Coyotes’ as a “Carnet de Voyage,” a tape you could directly play in your car while traveling somewhere, a kind of imaginary map to a sentimental journey. A spontaneous gesture, close to the notion of gift or offering. Or, simply, a postcard to a friend.” But it’s also a praise to the conservation of national and state parks and its human and non-human souls, menaced as we know now by drilling and violent economic speculations.

Here, coyotes act as a kind of metaphor of ambiguity and doubt, a state of mind that Atkinson find interesting to transcribe musically; the ambiguity furthered by Atkinson as a literal “foreigner” in New Mexico. She conveys a sense of visiting these native sacred lands and wondering what you are doing there.

Musically, ‘Coyotes’ is composed of two long tracks, “Abiqiu” and “Lighter Than Aluminium.” Each track features an effervescent froth of piano, midi sounds evokes marimbas, Fender Rhodes, bells, sub-basses, and spoken word poetry written by the musician to display a melancholic landscape made of transparent but deep layers of pale colors and blurry lines.

Félicia Atkinson - "Lighter Than Aluminium"

This weekend, Friendly Potential stepped into the celestial world of Him. 
Him is the project of Jazmine Rose Phillips, an Auckland-based multidisciplinary artist. For the show, she crafted an assemblage of recent work for us. Listen to soundscapes taken from her theatrical show 'Rosemary' - an exploration of mother Mary, recordings made during her Morni Hills India Art and Performance Residency in the Shivalik Ranges of the Himalayas and the piece 'Of Bleeding Weeping Cunt' made under the watch of the moon. Big thank you to Jazmine for sharing these moments with us. To end the show, Scarlett rolls out a late night meditation.  Track list below.

Listen to Him: 
https://soundcloud.com/jazmine-rose
https://himsounds.bandcamp.com/

*Him*
Him - Give Me Away To Space 
Him - Home 
Him - India 
Him - When We Are Sleeping 
Him - Spit And Girl 
Him - To Destroy Love 
Him - Lavender 
Him - Of Bleeding Weeping Cunt
*Scarlett*
Software - The Long Love Mix [100% Electronica]
NOT WAVING - Emotion 1.7 Cleanse [Ecstatic]
Yoko Ueno - Elizabeth [Biosphere Records]
Laura Allan with Paul Horn - Waterfall [Unity Records]
Akira Ito - Praying for Mother / Earth Part 1 [Light In The Attic Records]
Midori Hirano - Mountains [Daisart]
Kaitlyn Aurelia Smith - Tides VII [Touchtheplants]
Keita - In The Forest [Awa Muse]
Yoshiaki Ochi - Beat The Water [Wacoal Art Center]
Arp - Reading A Wave [Mexican Summer]
Kara-Lis Coverdale - Moments In Love (taken from Grafts)[Boomkat Editions]
UCC Harlo - Ceres [Subtext]
Rainforest Spiritual Enslavement - Green Graves [Hospital Production]
Laurel Halo & Hodge - The Light Within You [Livity Sound]

Ep. 141 w/. Him (NZ) & Scarlett (FP DJs // NZ)

Recorded at the Hallow Ground x Präsens Editionen Session live from the Sattelkammer in Bern.

🧾Tracklist:
Franziska Lingg - Momentum
Running - Feminin
Metta World Piece - User Manual
Nika Son - A Mop Sparrow
UCC HARLO - Palimpsest/Too Near
Andrea Belfi - Anticline
Nozomu Matsumoto - Remain Calm
Mondkopf - Last day on earth
Ossia - Dub Hell
Mats Erlandsson - Enough Mourning This Old World
Running - Panda

www.hallowground.com
www.praesenseditionen.ch
www.sattelkammer.be

Radio Bollwerk

Martina Lussi | Hallow Ground x Präsens Editionen - Radio Bollwerk x Sattelkammer - 31.03.2019

Enter a parallel sonic dimension as Grouper, aka Oregon-based musician Liz Harris, turns the intimate Utzon Room into her uncanny world of dreamy, abstract experiments in sound and space. 

Sets will be nostalgic, both noisy and delicate, will include piano, guitar, tape collage and field recordings material from Dragging a Dead Deer, Ruins, Grid of Points, excepts from the new project Nivhek and one or two unreleased tracks.

Two performances:
Friday 24 May 2019, 7pm
Friday 24 May 2019, 9.30pm (THIS)

Grouper @ Utzon Room In Sydney Opera House

Valentina Magaletti and Julian Sartorius maintain a dialogue of irregular tempos and off-kilter percussion on their first collaborative record titled Sulla Pelle. 

Valentina is a force in the world of electronic and experimental music - working with Tom Relleen under Tomaga, jazz/pop band Vanishing Twin, the collective ‘UUUU’ with a couple of releases on Editions Mego, as well as various collaborations with the likes of Nicholas Jaar and Raime/Moin to name a couple. 

Julian Sartorius is a denizen in and of the beat – he's collaborated with artists such as Matthew Herbert, Shahzad Ismaily, Sylvie Courvoisier, as well as touring worldwide and widely through Europe with his solo show on the bill with the likes of Deerhoof, Faust, and Jaki Liebezeit. It’s apparent that time is not perceived in an ordinary manner by Julian – he's released a “Beat Diary” consisting of 365 beats and, on a daily basis, adds an element to his collage and modifies an 8-second audioloop under the project called Morph. More recently, he played percussion on the track ‘Firesmoke‘ on Kate Tempest‘s new record ‘The Book of Traps and Lessons‘. 

Sulla Pelle chisels away at your headspace at varying velocities with a harmonious flow - at times gently carving out channels that dramatically flood with syncopated kick drums and shifting propulsive beats. It’s as much about monotonous playing as it is about those moments where it seems as though every vertebra branches into tentacles and antennas ricocheting hits in foreign symbiosis.  

Rasping prepared drums that traverse the body into all sorts of ceremonial throttles, hedonistic arm flails, primal cheer at every incipient dynamic accent. This raw and sparse drumming and percussion record sees Valentina and Julian cueing each other in on interlocked ratchets and clanks with different mallets and metalwork from Malcom Catto’s studio on top of modular tinkering and occasional distant subdued ramblings.  

Sulla Pelle will be released end of August digitally and on vinyl with artwork by Benjamin Kilchhofer.

Valentina Magaletti & Julian Sartorius - Sulla Pelle

Healing Is A Miracle

Safe

Liquid Architecture, operating since 2002, is a community-founded, artist-first organisation that exists to explore sonic relationships and practices on the radical edges of sound and listening.