this is so beautiful deserves more plays , your music is loved

From the debut album by DJ Pitch / @djpitchdj

It's Not What You Said, It's Because You Spoke is out now

For darkening nights
For a world that is ending
That has ended
For what comes after
For that which we might make
For that to which we can give no words
To those words that we hold close
///
Towards a feeling
An opening, ineffable
There, a blurring
Some smear at the edge of perception
For a moment,
Permanence is lost
The outside reaches in
We find ourselves
A sound finds us
///
A quiet breath
We are resigned
We remain hopeful

Mastered by Mor Air
Artwork by Alex Buchan and Eliza

DJ Pitch - It's Because You Spoke

Buy → l-ky.me/eli

New York based percussionist and composer Eli Keszler is set to release his new album Icons on June 25 via LuckyMe. Icons is an immersive work in perpetual motion, evoking a glorious and dystopian western world. Known as a frequent collaborator to Oneohtrix Point Never, Laurel Halo, Kevin Beasley, and Rashad Becker, Keszler’s latest solo venture offers up a latticework of melodic percussion, drum set, and electro-acoustic instrumentation, built upon fragments of American abstraction, ancient scales, industrial percussion, and jazz-age film noir to achieve its feeling of imperial decay. Keszler’s instrumental performances are framed by panoramic recordings of New York City and the Odyssey Cave, along with other on-location audio from his global travels, defining an expansive music that takes on hyperreal forms difficult to describe outside of the loss and wonderment that defines our age.

“Icons is the music I made during a time where travel and trade were effectively suspended,” states Keszler. “I spent nights wandering around Manhattan collecting recordings of the empty and silent city where a car alarm was audible from blocks away, where the hum of the electrical grid and the clash of bicycle gears suddenly occupied a massive amount of space. I spent the entirety of that year in Manhattan, probably the longest I’ve stayed in one place in over a decade. The island was essentially shut down and running at an erratic pace. The speed of the city seemed to oscillate from intense speed - ambulances, protests, helicopters — to near stasis — a sort of beautiful, strange, serene stillness. I saw something strange and beautiful happening: power cracking and people changing. With Icons, I was working with these mythological tropes that are deteriorating and decaying before our eyes to create a music that finds beauty in our fragile and unstable reality.

Keszler has released music on Shelter Press, Empty Editions, ESP Disk and PAN. His 2018 album Stadium was awarded Boomkat’s Album Of The Year. Most recently, Keszler wrote the original score to Dasha Nekrasova’s feature The Scary of Sixty First (which made its recent premiere at Berlin Film Festival) and contributed to Daniel Lopatin's original score for Josh and Benny Safdie's Uncut Gems. Keszler’s music, installation, and visual work have appeared at the Whitney Museum, Lincoln Center, MIT List Center, Victoria & Albert Museum, Sculpture Center, The Kitchen, South London Gallery, Hessel Museum, Harvard's Carpenter Center for the Visual Arts, Luma-Foundation, Barbican, Walker Art Center, and MoMA PS1.

Icons

Static Doesn't Exist

What greater combo exists, rare and under-practiced as it is, than the moving experience of reading and listening at the same time? In this medium flit a number of temporal questions should be asked: how long is a piece of music and how long does it take to sub-vocally read a poem? Is there an issue if one medium ends before the other? Engage autoplay and a track begins explicitly without pause. What importance does / should synchronisation have in the consumption of this work? And on, should it matter if the listener / reader engages with either artefact separately or in isolate from its other half? 

Upon first play-through of Georgie McVicar’s Tiny Grassland the listener will become acquainted with a significant number of quiet voices. They make little noise. They proliferate in number as the album reaches its climax. Then they disappear. Little voices from audiobooks and plays and TV. Each voice here, for me at least, whether words are understandable or not, reminds me of the book that comes with this album. And more significantly, reminds me of the painstaking schema of the object, devised by Georgie not as a form of sonification of data or a real environment, rather, a schematic towards something more nebulose and rummaging, a biome of oneself, a schema which functions (in my opinion) as a sonification of that little voice one uses to read, privately, in the head. 

Of course another unvoiced reading occurs when someone looks at a score like someone who looks at words. And when someone reads the news and imagines their own present and future sub-vocalised in its story. In Transports of Joy, Georgie has a rhythmic pattern long thought stable suddenly double, angrily, full of energy, and then de-double, just as quickly, emptying out, and what you are left with is a lone synth, the squelching of the trees, perhaps, as their leaves curl inward, suffering from an illness Georgie writes of, rotsong, and other sad illnesses of the present captured in this text, ecocide, ecosilence, and catastrophes of the near future rendered bathetic. By the time you reach the track Live Stills you hear announced a pattern which holds and has held itself throughout this album, clearer in some ways than a picture, belaboured softly, ‘I need a place to moan in’, and what happens is this, the music starts off with a pattern and then there is a loud bang and then the pattern comes back but it’s different, raised in some ways, more emotional and more strong, and for that moment alone I’d stop reading my words and turn the page now, gently, and continue with the next song.
- Emile Frankel

releases August 17, 2021

All music produced by Georgie McVicar
Mastered by Dominic Clare @ declaredsound.com
Artwork photography courtesy Yogendra Joshi
Book design by Julian Jaschke @ offgrid.team
Book contributions by Emile Frankel, Gribs, Laurel Uziell, Daniel S Evans

Tiny Grassland

Georgie McVicar - Live Stills

From Relaxer's forthcoming album 'Concealer'
https://planet.mu/releases/concealer/
Art by Bjorn Copeland

Daniel Martin-McCormick, formerly known as Ital, now known as Relaxer returns to Planet Mu. His new album ’Concealer’ “was made in a very private way.” McCormick describes the process as being akin to “peering into materials - the materials defined the record. Rather than making a record that's about an emotion, or a political scenario, or the dance floor, or the empty dance floor, or any narrative, this record was about communing with the materials and letting them speak to me. When I say the materials, I mean synth sounds, the space of aggressive digital processing inside the computer, and the formal structures of dance music.”
 
Daniel is well aware of how he’s been viewed as “both inside and outside of dance music” but notes that people are missing the full picture – “there's this third dimension, which is not necessarily tethered to dance music at all. That's maybe my way of hearing. Or the co-resonance with raw materials.” Informed by formal composition studies with electronic pioneer Morton Subotnick and Ben Vida, Concealer began to take shape. “I had this strong feeling that the tracks were these floating sound objects, and I was peering into an empty center point which they orbited around. The center point of empty/radiating emotional resonance... the materials took on a resonance that I responded to while I was working. It's only after the fact that the emotional contour of the album became apparent.” 
 
The cover featuring a work by visual artist and Black Dice member Bjorn Copeland is a big clue to the sound of the record. Relaxer notes that it reflects “this open, airy material squeezed and wrestled into a contorted shape, suspended in air with an empty center. That's exactly how the album felt. In this sense I wanted to take myself out of it, to let the materials bloom into their own shape, guided by my hand but not defined by my intellect or any market concerns.”
 
Martin-McCormick thinks of the sounds on the album as “primarily just… resonant. I mostly hear resonant transience. Sounds disappearing into a field, or being obscured, or crumbling, or being subsumed. Loss.” Daniel continues “emotional resonance... that feeling that art echoes your emotional reality without narrowing it to a single mood. The mood is more like... the reality of one's personhood, reflected in the abstraction of sound.”
 
The album drifts towards some hyper digital sounds and marks Daniel’s return to using a computer in collaboration with hardware. Combining the ultra-artifice of the digital and its glossy, pure surface qualities, Daniel comments that it “gives the sounds this sickly, shiny dimensionality which is a little (a lot?) un-human. This decoupling from the human-ness of sound means the sounds can speak in their own special way. Of course, all sounds can speak in their way, but a vivid, digital, melty synth speaks in a way that feels more autonomous, or less tied to historical/encultured musical gestures. It hovers in the air and melts and glides. It's a little gross.” 
 
His return to Planet Mu has been long overdue. It's been almost ten years since his album ‘Hive Mind’ (under the alias Ital) dropped on Mu, and this new record should be seen as an expansion and deep development of some of the ultra-artificial, hybrid digital contortions of dance music that McCormick started with on ‘Hive Mind.’ Welcome back.

Concealer

Relaxer - Mello

https://www.nts.live/shows/golden-ratio-frequencies/episodes/golden-ratio-frequencies-12th-february-2022

GOLDEN RATIO FREQUENCIES : GUEST TAKE OVER W/ KUDATAH & TEXT CHUNK  - 120222

mMega - LazyRiver

@jollies_records
@norfik is a project by Jeff Gill a prolific Chicago based producer and musician. Tracing a line from new age and midwestern soul, through to the hardcore continuum and beyond; Norfik mixes styles to create a sound entirely his own.

“Realization”, is the examination of a paradigm shift. This EP is very introspective and personal, but not in an unrelatable or navel gazing sort of way. As with a lot of great art, it feels more like being invited into the artists personal space where you get comfortable and slowly begin to peer into the their imagination. You hear their thoughts, feel their emotions, and you see their point of view. That is to say this album is as warm and inviting, as it is expansive and crystalline.

We have all experienced light bulb moments that seem to challenge our preconceived ideas and outlooks. These wellsprings can come on suddenly or slowly bubble under the surface. Epiphanies allow us to rise above our day to day consciousness in pursuit of revelations and realizations which drastically change our perspectives and values. These moments of sudden clarity can drastically alter our character and who we are. Walls are removed and where the enclosures once stood are now new views and perspectives from which to see.

So whether you are walking around a city, lost deep in meditation, or excitedly dancing in a club please realize that you won't have to find your purpose, it will find you.

Purchase: https://norfik.bandcamp.com/album/realization

Music written & produced by Jeff Gill
Mastered by Pheek
Art direction & design by One Day Vacation
Released by Jollies Records
Released September 15, 2022

Links
https://jollies.bandcamp.com/
https://www.instagram.com/jollies_records/
https://norfik.bandcamp.com/
https://www.instagram.com/norfikofficial/

Static Doesn't Exist

LUCKYME®

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