prime time

BUY VINYL/DIGITAL:  https://sunfear-octopus.bandcamp.com/album/octopus

Sunfear, the project of Istanbul-based multidisciplinary artist Eylül Deniz, debuts on Dark Entries with Octopus. Since 2017, Deniz has been working as a composer, performer, and DJ, with a focus on different facets of ambient, jazz, and experimental music. Deniz is deeply steeped in both music theory and history. She explores electroacoustic techniques, utilizing piano, guitar, voice, and synthesizer. These are her tools for self-expression, the means to tell her story to the world.
Octopus is a rumination on loneliness, memory, and Deniz’s childhood fondness for aquatic creatures. The ten songs on the album are static and turbulent, mournful and optimistic, grounded and otherworldly. A field recording of a gently flowing stream undergirds instrumental album opener “Dokun”. The stream begins by soothing us, but as tension builds throughout the song, its presence becomes unstable, uncanny. On “I Don’t Know Why I’m Crying”, a repeating motif serves as the canvas for Deniz’s majestic, reverberant voice. While the source of sorrow remains unknowable, her catharsis is pure and real. The penultimate track, “Octopus”, breaks into an unexpected trip hop-esque beat, which only enriches the album’s introspective terroir. With Octopus, Deniz gently guides the listener to places unknown.

Octopus

Sunfear - Octopus

N-Plants

Monju-1 (Modified)

Pavel Milyakov NTS 03.07.2023

Rüdiger Lorenz - Synrise - Early Tape Recordings 1981-83 [album preview]

Lena Tsibizova is an artist from Moscow who works with photographic and musical media. In her photographic works, she explores themes of nostalgia and the fragility of what is happening. As a musician, she performs in collaboration with composer Piper Spray. Together, they play in a genre that they describe as romantic noise.

"For this project, I set myself the task of creating a purely female mix, which predominantly turned out to be just that. However, it also includes melodies from duets and the motorics of trios, and sometimes even altered samples from works that are not female at all. Thus, this mix raises the question of how accurate the division by gender really is. Where do we hear a purely female nature, and where do we hear a male one? Perhaps music is more spectral? Yet, it is this conditional division into binary opposition that became the impetus for this work."

Sophia Zhuravkova - very kind and lovely 
КЛАРА - rita lino
furrr - heat
Lena Tsibizova - his track 
DJ Designer - liber mistica
Kate Kobzar (Черные Бояре) - Gabber’s mood
Barkal - quiet 
svetiritm - Fog harp
wjerstean - to take away
schneider solid - SEPE
vitalinair - Moonstone Angel

Lena Tsibizova @ fābula radio 17.12.24

FUTURE SIMPLE

replicant blues

Enter into a meditative, dream-like state with this heart-melting 7" from Leipzig-based Australian talent, and one half of Senate, Carmel. 

Let the soft, melancholic synths pull you in like the heavy tide as you drift further and further into a lucid haven.

@reece-walker

Carmel - Georgia [LT-CRML-700X]

Georgia

BUY RELEASE

Carmel - Georgia

Dedicated to Airkit   https://soundcloud.com/theairkit

Mårble & Minereed - Dedicated to Airkit

Hallucinogenic Trickle

Vegetal Negatives is a game of sonic mutations, mimicry, inversions, and association inspired by a text called "On pataphotograms", by the French writer René Daumal – a quasi-metaphysical essay that toys with breaking the conceived separateness of natural forms through poetic imagination. 

The four electroacoustic compositions on the album combine and arrange field recordings, electronic feedback, Buchla and ARP synthesizers, bowl gong and harmonium, textures of detailed acoustic sound, and sustained tones with gentle microtonal beating into a precise musical narrative. She juxtaposes recordings of rooms and empty vessels, natural and artificial climates, spontaneous and staged events. Ahti draws upon Annea Lockwood's ideas about associative movements between sounds based on shared characteristics and sonic energy. Her approach to field recordings is neither diaristic, documentaristic, nor purely acousmatic, but rather it starts out from somewhere in between these notions: the sounds hover between abstraction and the deeply familiar, moving into a realm of poetic metaphor where they are set in relation to each other, fleetingly mirroring or shadow-dancing. Acoustic environments mutate into synthetically derived shadow forms. 

The opening track, "Coastal Inversion”, moves from a seemingly familiar seascape into an ocean of wavelike synthetic staccato patterns, turning itself inside-out on the shore, before diving back into a sea of resonance. ”Rooftop gardens” arranges a series of largely unprocessed field recordings into a dream-logic sequence of upward movement towards the clouds. On the other side, ”Symbiogenesis” brews a slow evolution of wet, airy and earthy sounds and resonant friction. The closing track, ”Chora”, imagines a meditative space of breath: filter resonance posing as organ pipes against a backdrop of breezy industrial hoovers merges halfway with a harmonium improvisation that foregrounds the frictions of the wooden instrument itself, just before filtering out into resonant harmony. 

Releases March 29, 2019 via Hallow Ground 

Marja Ahti: composition, production, field recording, Buchla 200 and ARP 2600 
Recorded at EMS, Stockholm, WORM, Rotterdam, and on locations in Greece, Alaska, Finland and Sweden. 
Mastered by Giuseppe Ielasi 
Designed by Ruth Stofer

Vegetal Negatives

Coastal Inversion

ROKU022 - Forthcoming late November 2019

LP 1:
SIDE A E-Lail [The Night] East - 19:28
SIDE B Farah ‘Alaiyna (Joy Upon Us) - 20:57
LP 2:
SIDE A + B E-Lail [The Night] West- 34:31

د [Ahmed] – the quartet of Pat Thomas, Antonin Gerbal, Joel Grip and Seymour Wright – make music of heavy rhythm, repetition and syncopation set deep into an understanding of jazz and the obscure depths of its history. Across the 2 LPs which make up ‘Super Majnoon [East Meets West] ’the group work and rework the music of the late musician Ahmed Abdul-Malik to create a stamping, swinging, relentlessly propulsive record where profundity and physicality root right back to ecstatic feeling. 

Abdul-Malik was a NYC bassist, oudist, composer, educator and philosopher who fused aspects of American, Arabic and East African thought, ethics, meanings and beliefs in open and experimental ways to make vital, forward leaning jazz. [Ahmed] reimagine the notes of Malik as they push for new ground. Melodies respirate, swell, escalate and combust in a driving jazz which yes is technical, yes is accomplished, but ultimately just foot-to-the-floor swings. 

‘Super Majnoon [East Meets West]’ is a title fused from the leader of the Master Musicians of Jajouka Bechir Attar’s description of [Ahmed] after hearing them in Switzerland last year (Majnoon is the arabic slang for ‘crazy’), and Abdul-Malik’s 1959 album East Meets West. Arriving as a double LP, the first comprises studio recordings of [Ahmed] at Hong Kong’s Empty Gallery in 2018 and the second a scorched live recording at OTO from August 2018. The record features photos by Bert Glinnand Taku Unamiand ‘in and out’ liner notes by James G. Spady – historian and journalist from Philadelphia, the author of books on Marcus Garvey and the trilogy of groundbreaking books on hip hop (Nation Conscious Rap, Street Conscious Rap, The Global Cypha).

ROKU022 - أحمد [Ahmed] "Farah ‘Alaiyna (Joy Upon Us)"

Track taken from Hair Del. anniversary compilation
https://hairdel.bandcamp.com/album/hair-del-666

Rainforest Invaders (feat. Andes Mountain Range)

"The trio of guitarist Tetuzi Akiyama, saxophonist Gregor Vidic, and drummer Nicolas Field introduces Akiyama to Vidic and Field's standing duo. The result is a magnificent set of exploratory improvisation. Vidic and Field's playing has a rich, textural quality, developed through their use of timbre and dynamics. In this way, Akiyama's multiphonic approach to guitar, and his innovative use of effects, offset's Vidic brilliantly. Over the course of 45 minutes, Akiyama, Vidic, and Field generate a nervy tension, walking razor thin lines, such as the ones threaded through the middle of "Inner Circle." In keeping with the overall Astral Spirits aesthetic, and as a capstone to their anniversary year, the trio's music is at times stateless, at other times murky and brooding, and yet it's always highly engaging, rich and thrilling." - Lee Rice Epstein, The Free Jazz Collective

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Tetuzi Akiyama / electric guitar

Nicolas Field / drums & percussion

Gregor Vidic / tenor saxophone

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Recorded at Gok Sound, Tokyo, July 19, 2017 by Yoshiaki Kondo. Mixed at Konnekt SoundLab by Nicolas Field. Mastered by Mikey Young. Thanks to Rhizome DC for hosting that great Astral Spirits event, Nate and all involved.

AS117 - Akiyama / Field / Vidic  "Synchronous Ancestor"

Rainer Veil are Liam Morley and Dan Valentine, two friends who met while studying contemporary music in the north of England. The pair began improvising and making drones in a dark basement before incorporating a broader palette and forming Rainer Veil as an ongoing concern last year. ‘Struck’ is their first EP and debut for Modern Love, following an appearance at the label Boiler Room takeover in August 2012.
The ‘Struck’ EP incorporates recordings made over the last year and extends from the rewired Jungle ruckus of the title track to the more emotive formation of ‘Wade In’ and ‘Bala’, through to the hazy closer ‘Yield’. There’s a melancholy pop pulsing at the heart of these tracks, coloured by a love of electronic mutations from UKG and Hardcore rave to House and Techno, most evident in the unusual recording process undertaken while constructing the EP. Each track was re-worked from radically different first drafts, often starting life as more recognisable and structured songs before being dismantled into more abstract shapes: percussion degraded and layered, vocals fed through analog delays, samples reworked at the wrong speed and re-sampled to tape for added warmth: the narrative all mixed up.

Hallucinogenic Trickle

Mårble

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