Related tracks: Christina Kubisch (TA158) excerpts

Excerpts from Carlos Casas' Pyramid of Skulls 2xLP out on 26th May 2017

Ghosts from the future and spirits from the past collide in this sci-fi field recording experiment. 

More info at www.discrepant.net

Pyramid of Skulls

Carlos Casas - Triune God (excerpt from Pyramid of Skulls 2xLP)

Reliq Ens | 2016-2017 (recorded on 11.03.17 for BBC Radio 3's Hear and Now)

Serge & Mondriaan

https://ultraeczema.bandcamp.com/album/dark-arc

Dan Melchior & Sigtryggur Berg Sigmarsson (Dark Arc A Side)

Asmus Tietchens
STENOGRAMME, zweite Folge
CD (E233)

Release date: September 2018
Limited edition of 150 copies
•
28 ideas in 28 tracks
Pure electronic music
→ tietchens.de

STENOGRAMME, zweite Folge

Asmus Tietchens (E233; 2018)

written by: @agf-antye-greie
label: self-released
release date: 08/23/18
buy: https://agf-poemproducer.bandcamp.com/album/enfys-nest-ep

AGF - MACHA [Irish]

Drift is a free fall album consisting of three compositions invoking a sense of hovering expansion. Deeply spacious yet tightly compacted sound movements create holding patterns that slowly shift and evolve.

Cycles fall in and out of sync while atmospheres envelope time, appearing on the periphery before being subsumed back into space. The compositions utilize modified alto saxophone with spring reverb attachment, synthesizers, percussion, field recordings and electronic processing.

The saxophone is played with an acoustic spring reverberation preparation to produce multiple feedback tones, pitch beating and metallic distortion. Using sampling and pitch shifting techniques, the instrument and its presence of breath act as the glue that binds the pieces.

Rosalind Hall - Drift - Cassette - PRE-ORDER NOW AVAILABLE

Sholto Dobie is an artist and performer born in Edinburgh and living in London. His solo output is marked by live performances that are characteristically delicate, evocative and absurd. He uses his own instruments, crudely assembled from materials such as reeds, whistles, bin bags, fans and air compressors, alongside loose performative structures, to respond to places and situations. He plays in Al Fresco (with Lia Mazzari & Tom White) and regularly collaborates with Ben Pritchard, he has also worked with Ashley Paul. He continues to run the event series Muckle Mouth which he founded in 2014.

Mark Harwood is a musician and performer born in Ferntree Gully and living in London. His output veers towards uncanny audio both delicate and unsettling whilst his performances rely on teasing out and playing with the mood embedded within any given environment and audience situation. He has collaborated with Graham Lambkin, Aine O’Dwyer, Timo Van Luijk and MP Hopkins and runs the Penultimate Press label which brings forth this very release.

The Blue Horse is a beautiful strange journey through a landscape where little is familiar but all are welcome. Made from predominantly acoustic sources, The Blue Horse gracefully hisses, puffs, wheezes, whirls, and clunks it’s way through a series of distinct musical and non musical environments. Sounding both at times like a dark and stormy night… and “an elephant trying to get laid”, the ambiguous style of The Blue Horse conceals the artists’ unsettling, fantastical and quietly humorous sensibility.

Whilst The Blue Horse lacks any obvious precursors, it’s elemental and environmental leanings potentially tread a path initially mapped out by Moniek Darge and Godfried-Willem Raes in the works coming out of the Logos Foundation in Ghent, Belgium in the mid 80’s.

The Blue Horse is the debut recording from Sholto Dobie and Mark Harwood and features a guest appearance from cellist Judith Hamann.

““People say he looks blue under the moon”, is what Mhairi told me when I asked her about it.

I was walking along the roadside with my partner in the Cabrach, one of the most remote areas in northern Scotland. At a bend in the road, something directed my attention towards the hill and when I looked up I could make out a silvery-blue creature, moving slowly and gracefully, obscured by the trees. It wasn’t clear at first, but I soon clocked that it was a horse and I took a picture of it. Earlier in the day I came across a fairy ring of field blewits, mushrooms otherwise known as blue-legs, so I knew something was up.

By the time it was dark (around 4pm in November) we were the only customers in the Grouse Inn, a long-standing middle-of-nowhere tea room and whisky bar, beautifully cared for by Wilma McBain and her daughter Mhairi. Noticing the leather harnesses on display I asked Mhairi about the horse we’d seen earlier in the woods. I was somewhat enchanted just talking about it, and she wasn’t surprised.

Later in the evening, we ended up behind the bar in the refrigeration room (where Mhairi paints), she showed us her painting of the blue horse.

I didn’t sleep much that night.” – Sholto Dobie, 2019

The Blue Horse

Sholto Dobie & Mark Harwood III

(Rekem 13)

Following his first record on Rekem (Fullness of Harmony... Rekem 08), Panos Charalambous returns with a double vinyl collection that compiles a wide amount of sounds and material. On top of his usual performances, where he performs existing records using objects from nature as cartridges, this album collects field recordings, performance and installation documentations, but also contributions from other artists. Bringing together –amongst others- Mike Cooper & Tasos Stamou’s Taximi, midnight recordings of jackals captured on Greece’s Mount Athos, Aggelos Krallis’ raw take on Misirlou, a rhythmic dance on glass cups under the distant sounds of a country festival, as well as voice-o-graph records containing voices and immigrant stories from the 50s, Charalambous pieces together a rich and manifold sound mosaic, reinstating neglected or unknown voices from the Balkan peninsula. Focusing both on content and sonic experience, he manages once more to bring together the disparate and distant elements of the land, and to draw out a parallel ethnography and rapprochement of the local aural tradition.

Panos Charalambous is one of the three artists representing Greece in the 58th Venice Bienalle, and this edition forms a part of his work for the exhibit. In the past he has participated in exhibitions in Greece and internationally; among others: documenta 14, Athens and Kassel (2017); White House Biennial, Varna (2016); eidos, Besançon (2014); Break-Through, Madrid (2004); Copenhagen, Cultural Capital of Europe (1996); Kunst–Europa, Berlin (1991). He lives and works in Athens, where he is Rector of the School of Fine Arts.

Mastered by Giuseppe Ielasi. The lavish edition contains, amongst others, a pamphlet featuring an essay by Thanasis Moutsopoulos on the secret post-war history of folk music in Greece.

rekem.org/Panos-Charalambous-An-Eagle-was-Standing

Panos Charalambous - An Eagle was Standing... (excerpts)

Ifs = Krzysztof Freeze Ostrowski & Fischerle

Source: https://fasrat.bandcamp.com/album/fasrat-compilation-3

Ifs - Candyflipper

New tape on Flaming Pines available from Bandcamp:
markvernon.bandcamp.com/album/ribbons-of-rust

This album focuses on a derelict and abandoned holiday resort at Laem Thian bay on the east coast of the island of Koh Tao in Thailand. The resort is situated in a small cove that is only accessible on foot via an overgrown path and a walk of several miles - a journey very few tourists bother to make. The concrete structure opens out onto a small sandy beach that would have provided an idyllic holiday setting at one time. A number of palm-thatched holiday cottages with dilapidated roofs slide down the hillside. There are signs of vandalism; graffiti decorates the walls, the remains of campfires, broken glass and other detritus litter the floors – but traces of the previous occupants also remain. Children’s toys, kitchenware, hand written notes, menus, mattresses, a plastic telephone and four cassette tapes – rusty, caked in sand, weather damaged and corroded by the humid salty sea air.

Back at home these tapes were prised apart and transplanted into new cassette shells to salvage the audio from them. This piece is composed from excerpts of the recordings found on the tapes along with field recordings taken on site, the journeys there and back and audio rips from video clips uploaded by other travellers who came across this same location.

The haunting quality of this place left a deep impression on me. The sense of isolation and abandonment it engendered was in stark contrast to the rest of the island, and indeed the rest of Thailand as I experienced it. This feeling remained with me and in some way it permeated the rest of my stay in the country. It is that feeling that I wanted to convey through this work. The impetus behind this project has been less objective documentation and more a form of sonic time travel. A document of a place that no longer exists.

All recordings made or found in Thailand between February and March 2016.

Location photographs by Tian Miller.
Cassette documentation by David Fulford.

Developed during the Hospitalfield Summer Residency 2017. Made with support from the PRS Foundation’s Open Fund and Sound and Music’s Francis Chagrin Award.

Special thanks to Tian Miller, Barry Burns, Ian Middleton and Kate Carr.

Released June 26, 2019.

Accelerated Aquaculture from 'Ribbons of Rust' cassette

Recorded in Chicago, Toronto, and Manhattan, 2019
Mastered by Mikey Young
John Daniel: Turntable (Debussy's La Mer), Signal Processing, iPhone
Photograph Taken By Ed Stuparitz

forestmanagementadr.bandcamp.com/album/after-dark

Forest Management - The Blue Light Blues

Handnumbered edition of 60 baby pink cassettes with risographed inlay and download code.

All music by Mathieu Serruys. Recorded by Mich Leemans at AB Salon, Brussels, June 15th 2019. Graphic design by Joris Verdoodt & Mathieu Serruys.

Mathieu Serruys – Live at AB Salon

This is a work-in-progress and part of a research presented via https://a-desk.org/magazine/within-visual-phenomena-vol-i/


Sound Recordings / Sections:

I — Floaters - Minute 0:00 — 2:02
II — Blue Field - Minute 2:03 — 4:40
III — Tree - Minute 4:42 — 8:58
IV — Hourglass Pattern - Minute 9:06 — 11:13
V — Blue Arcs - Minute 11:13 — 11:34
VI — Phosphene - Minute 11:35 — 14:01

Barcelona — August / September 2019

Within Visual Phenomena Vol. I

Arnau Sala Saez — Within Visual Phenomena Vol. I

Christina Kubisch
Italienische Stücke / Italian Pieces (1974-1984)
-
CD, Tochnit Aleph TA158, November 2019
-
soundfile incudes:
00'00 - 01'23 min - Liquid Piece (1975)excerpt
01'25 - 03'28 min - Circles 1 (1984)excerpt
03'30 - 08'18 min - Costante Variabile (1981)excerpt
-
Special pre-order edition of 50 copies now available!
http://www.tochnit-aleph.com/catalog/product_info.php?products_id=4546
.

Italienische Stücke / Italian Pieces (1974-1984) TA158

Christina Kubisch (TA158) excerpts

Ben Vida
Reducing The Tempo To Zero
SHELTER PRESS / SP108

Recorded 2016-2019 New York
Mastering: Stephan Mathieu
Artwork: Xavier Antin

The theme of time is unavoidable when approaching Ben Vida’s Reducing the Tempo to Zero, his latest endeavour with Shelter Press. A singe work, pushing the bounds of Digital and Analog Synthesis, which stretches to just over 4 hours in length, its realization is the product of years of effort - the process of recording and editing extending across the period between 2015 and 2019, offering momentary conclusion to an arc of ideas and practice which which first appeared on Damaged Particulates, issued in 2016.

RTTTZ is a temporal nesting doll - a meditation, conceived by Vida as a part of a daily practice which embarked upon sustained periods of focused creation and listening. While the product of a deeply personal, inward journey, similar to iconic efforts by composers like Dennis Johnson, La Monte Young, Morton Feldman, and Éliane Radigue, it strives to unravel the standards and expectations applied to musical and experiential time, taking the relation to sonic phenomena into an almost transcendental realm. Immersive in scale and endurance, through a deep and radical sensitivity to material and structural hybridity, Vida’s return to the durational drone based forms - first explored as a member of Town and Country during the mid-90s - drives the ear toward the solace found through developmental and intimate relationships with the fleeting, granular, and discrete, transmogrifying smallest detail into a monumental event.

Despite being the “complete” RTTTZ document, made concrete by the process of recording, this 4+ hour iteration carries the shifting ghosts of other beings and times. It represent only one of many possible, existing beside a free standing phonetic, text-based score, and a near infinite number of evolutionary, live variations - instrumental and vocal versions, as well as those which spring from the combination of instrumental and vocal ensembles of varying sizes, each time of different length, changing and taking on new dimensions determined by the its performers. In a sense, each version is simultaneously free-standing and finished, while capable of reconfiguration and being made anew - a mirror for its shifting passage through the ear, which triggers multiple, concurrent images of other times and existence of itself.

While the duration, structure, and relatively of RTTTZ focuses attention toward the internality of what it is, like all great art, they are simply a means to an end. The crucial themes lay with the cumulative effect of their sum - the power of phenomena and highly individualized experience. It is an organized, sonorous space which is to be occupied and within which to get lost, shifting the ownership, whether embarked upon actively or passively - both as valid and rewarding as the next - to the listener alone, sculpting a subjective expanse which denying concise location and, in so doing, undermines the presumption of the capacity to be the same thing twice.

Overwhelmingly beautiful in its oscillating harmonics and punctuation of pulsing texture and tone, each stage of its evolution moving at a glacial pace, represents a monumental achievement from Vida within the broad landscape of experimental and avant-garde sound. Reducing the Tempo to Zero was mastered by Stephan Mathieu, and is released by Shelter Press in both digital and limited USB card editions.

Reducing The Tempo To Zero

BEN VIDA 'Reducing The Tempo To Zero' (EXTRACT)

OM51 - Bill Nace & Jake Meginsky East / West [sample]

arbitrary10 - Framework 2 (Disc1: side A)
https://www.arbitraryproject.com/framework-2

Made for “Sichten 1” compilation curated by Frank Bretschneider (raster-media 2018)
https://raster-media.net/shop/sichten-1

Circles (arbitrary10 - Framework 2 / raster Sichten 1)

From Fragments III — Collected Resonances from Radiophonic Æther now availble only on bandcamp.

Fragments III — Collected Resonances from Radiophonic Æther

D'une couleur oubliée

Piotr Łyszkiewicz - saxophones (soprano, baritone), contralto clarinet
Hubert Kostkiewicz - guitar

recorded on 20.04.2019 in Wrocław, Poland
recording, mix and mastering: Piotr Semiras at Tranzystor Studio

released July 7, 2020

tape release by Czaszka Rec:
https://czaszkarecords.tumblr.com/
https://czaszka.bandcamp.com/

artwork by Janek Koza

contact and booking: discomfortbooking@gmail.com

music video for "All the Ears" by Janek Koza:
www.youtube.com/watch?v=T_r8NbNoAR8

Spoons & Bones - Sudden Onset of Aphasia (Czaszka Rec.)

Recording electromagnetic signals and atmospheric events using fragile methods form my music. (phonography + electroacoustics | psychogeophysics)

Related tracks: Christina Kubisch (TA158) excerpts

marc mcnulty