Written by Hanjo Gäbler (ready to license soon)

Mount Everest Rescue

Taken from 'Horizon' by Christopher Willits, out May 19, 2017.

Order Links:
The Ghostly Store: goo.gl/iD00zE
Retailer of your choice: Ghostly.lnk.to/horizon

Horizon

Christopher Willts - Return

http://shop.raster-noton.net/?pid=269

»the title ›and IV (inertia)‹ refers to a fictionalized successor of the baksan neutrino telescope in the caucasus region. at first, it has been an idea for a novel, based on the consideration that it is impossible to deal with the topic of a ›lebensraum‹ like berlin without being hit by stylization – so I had to experiment with strategies of fiction.«

with »and IV (inertia)«, grischa lichtenberger presents his first full length record on raster-noton after his participation in the unun-series. for his musical production, he uses field recordings of his environment which are manipulated and broken down to their bare nakedness until only fragments are left. apart from analogue sources, he also uses digital sound data which is likewise turned and twisted until the boundaries between analogue and digital are blurred.

the arrangement of these atomic elements results in a rather rough and brute, machine-like cut-up sound with an outstanding dynamic – almost none. it seems like that the 21 tracks only consist of a minimal set of elements, but which are rearranged in a virtuous manner and with a high degree of variation. broken beats and dribbling basses allude to downbeat tunes, let one stumble because of their arhythmicity, to eventually take up the underlying groove again. equally, there are fierce and harsh technoid elements. and towards the second part of the record, there is also room for new developments where more introverted and airy songs take over.

lichtenberger’s musical production on »and IV (inertia)« goes in line with his general artistic work, which also comprises other artistic genres such as installations and paintings. there is a mental attitude behind all this, and while the music sounds abstract, one may still identify his personal note. In this way, »and IV (inertia)« is the extension of a concept he already started with his »~treibgut« ep (r-n112), »to define aspects of legitimation for an artistic work in engagement with the concreteness of one’s living situation.«

grischa lichtenberger. 1110_01_lv_1b. taken from grischa lichtenberger. and IV (inertia)

Joshua Sabin "Sutarti" LP (SUB030)
Pre-order: https://joshuasabin.bandcamp.com/album/sutarti

Release date: July 5th, 2019
@joshuasabin

Sutarti

Joshua Sabin - Sutarti: VI

Ecker & Meulyzer “Carbon” (SUB033)

Digital & CD: https://eckermeulyzer.bandcamp.com/album/carbon

Koenraad Ecker and Frederik Meulyzer make their Subtext debut with Carbon. 

Based on field recordings made at Norway’s Svalbard Global Seed Vault, a secure seed bank located on the island of Spitsbergen, Carbon grapples with the many contradictions that lie at the heart of our shift into the capitalocene. The project began in 2017, when Ecker and Meulyzer scored the performance “Frozen Songs,” a commission by Zero Visibility Dance Company led by Ina Christel Johannesen.

The Svalbard Global Seed Vault was conceived of as an effort to preserve copies of seeds from key crop varieties, ensuring their persistence in the event of large-scale crises. Yet the area is warming faster than anywhere else on earth, causing the permafrost to melt and putting the seed vault at risk. 

Across from the Seed Vault lie the decrepit remnants of Svalbard’s mining activities of the early 20th century; Carbon wrestles with the incongruities nestled in the town’s landscape. Reflecting on dissonances of stasis and change, closeness and distance, enclosure and expanse, as well as cynicism and hope, Ecker and Meulyzer consider the urgency of our situation while trying to sidestep all-too popular depictions of dystopia. In Ecker’s own words, “we don’t have the luxury to afford that kind of pessimism.” 

From close, supple sounds to cold, brutal sonics, Carbon meditates on the many challenging questions and contradictions raised by the Seed Vault and its surroundings—a landscape that embodies and makes visible the many intertwined phenomena that shape our current predicament.

Ecker and Meulyzer, formerly known as Stray Dogs, have released works such as Wasteland, recorded in deconsecrated church in Antwerp, and Kalkar, recorded in the cooling tower of a former power station in Germany. 

Koenraad Ecker works in the fields of electro-acoustic music, field recording, radio plays, stage performance and text. Together with Andrea Taeggi, he is part of the Opal Tapes-affiliated duo Lumisokea. His output encompasses studio albums, audiovisual installations, texts, performances, and sound design for film. 

Frederik Meulyzer is a percussionist active in projects including Belgian jazz band Hamster Axis of the One-Click Panther, contemporary music and theatre company Post uit Hessdalen, and experimental psych-krautrock band Slumberland.

The ecological impact of the production of this record will be compensated through a carbon offsetting program .

Bandcamp

Ecker & Meulyzer - Growth

birds (yin version)

Miguel Prado, Mattin and Reza Negarestani continue the conversation in this unprecedented moments demarcated by COVID–19: Wire-guided torpedoes, conspiracy theories, the great plague London, the human sloth with an endnote from Gottfried Ben. New paradigmatic times sonified and musicalised by Mattin and Miguel Prado

SD03 – w/ Reza Negarestani – Grim, Bleak and Sick: Part 2

"brdsfdrm" is a tribute to two bands I really love.

brdsfdrm

Various Artists - Trellis Adjustment Acid

"Au travers les ondes, 

le bruit devient signal, 

une forme apparaît, 

la réalité est sculptée, 

selon notre projection."

-

"Through the waves, 

noise becomes signal, 

a shape appears, 

reality is sculpted, 

by our projection."


/

Passing through est un morceau de techno mélodique : un morceau dansant dont les rythmiques ne reposent que sur les mélodies. C'est une musique d'ordinateur avec des séquences qui s'assemblent pour former des structures plus complexes, faisant entendre toutes les variations d'assemblage. Chaque séquence possède son rythme, et c'est leur assemblage qui crée l'harmonie.

Le visuel est la représentation de la spirale d'Ulm : chaque nombre premier représente un point. Il s'y forme un bruit, qui semble avoir un ordre dont on ne saisit pas la logique, comme si l'on voyait la circulation dans une ville comme New York.

La musique se définit par de l'ordre dans le bruit, notre esprit y reconnaît une cohérence, qui entre en résonance avec notre être profond.

-

Passing through is a piece of melodic techno: a dancing music whose rhythms rest only on the melodies. It's a computer music with sequences that come together to form more complex structures, making all assembly variations heard. Each sequence has its rhythm, and it is their assembly that creates an harmony.

The visual is the representation of the Ulm spiral: each prime number represents a point. A noise forms there, which seems to have an order whose logic we do not grasp, as if we were seeing traffic in a city like New York.

Music is defined by order in the noise, our mind recognizes a coherence in it, which resonates with our deep being.


£

Passing Through

Losange