‘How to breathe like a stone’ is the third release from the ongoing collaboration between Dutch, ambient and experimental guitarist Anne Chris Bakker and British, minimal pianist Andrew Heath. Their work charts a slow moving, lower case journey inspired by place and process. Combining tonal washes and textural recordings, punctuated by pointillist piano and guitar notes to produce music that creates an ephemeral, dreamlike state.

Previous releases have been on Chihei Hatakeyama’s small Japanese label, White Paddy Mountain (Lichtzin) and the English, tape cassette label, Rusted Tone Recordings (A Gift for the Ephemerist).
Having been aware of each other’s music, Chris and Andrew finally met when Andrew invited Chris to play in the UK’s Resound festival several years ago. This cemented a friendship and mutual admiration of each other’s music. Various visits to both The Netherlands and the UK offered opportunities to record and improvise together before a file exchanging process followed, allowing their work to be edited and further refined.

Both artists are experienced performers and collaborators, with Andrew having played at Iceland’s Extreme Chill festival and working with Hans-Joachim Roedelius and Toby Marks; Chris Has performed with the trio Kleefstra/Bakker/Kleefstra, touring Europe and Japan.

How To Breathe Like A Stone utilises Chris’s mainstay, the guitar, often processed with a huge 20 second delay and placed alongside Andrew’s piano and electronic sounds. Two different church pianos were used for their natural tones, one recorded in Noordlaren and the other in the village of Sheepscombe. Additional textures derived from field recordings and reel to reel tape machines, providing a layer of subtle detail to complete the aesthetic. One of the more unusual recordings on the album was made at the Kröller Müller museum in The Netherlands in the large sculpture room. The sun outside was causing the building to emit various quiet creaks and clicks, amplified by the acoustics of the space. It was as if the weather had its own improvised response to the collaboration, creating further notable moments that became woven into this story of chance.

This album does not have a mapped out concept, more that it uses the artist’s evident love of process and improvisation as a springboard into their sound world. It is hoped that the listener will pause to absorb this environment, both contemplating and losing track of time.

releases March 20, 2021
Written and produced by Andrew Heath and Anne Chris Bakker
Art and Design by Andrew Heath

How To Breathe Like A Stone

wlr089 Andrew Heath & Anne Chris Bakker - How To Breathe Like A Stone

Dr Samantha To Reception Please!

The two latest reissues to spin off from our acclaimed Imaginational Anthem Volume 8: The Private Press feature the solo guitar compositions of Russell Potter, recorded in the last waning days of the initial American Primitive explosion.

A then obsessed teenaged devotee of John Fahey, Robbie Basho, and Leo Kottke at a time when Punk and New Wave were ascendant, Potter harnessed a similar DIY ethos to his own ends by starting his own label & self-publishing his first record, 'A Stone's Throw', while a freshman enrolled at Goddard College in Vermont in 1979. Assembled at the legendary Boddie Records in Potter's hometown of Cleveland, Ohio, and sprinkled liberally with references to his heroes, from the initial record label name of Fonytone (which more than a little recalls Fahey's earliest record label, Fonotone), to the arcane song titles and references to obscure rags.

Even as he looks to his elders, Potter's debut release nimbly evinces a complete mastery of his form and is all the more remarkable for one of such tender years, as only the chutzpah of youth can account for such moves as successfully grafting one of your own composition to one of John Fahey's, as he does here. There's a very immediate, lovely, and real homespun quality to Potter's chiming twelve-string compositions that puts it in the realm of those classic records that seem to simply exist outside of time.

Shortly after 'A Stones Throw', Potter produced & released a 45rpm single by an Ohio bluegrass band featuring the cult singer songwriter Bob Frank performing a cover of Devo's 'Mongoloid', before moving on to his second (and sadly final) album the following year, 'Neither Here Nor There'. Following an independent study with a Goddard College ethnomusicologist, Potter's compositions and performance only deepened on his second release - the recording quality steps up a little but loses none of the immediacy, the playing gets more exuberantly virtuosic -but then more reflective too, particularly on the tunes that are influenced by the gorgeous traditional Irish slow airs. He's still tipping his hat to Fahey occasionally as well, this time with an audacious electric guitar setting of the classic "Dance of the Inhabitant of the Palace of King Philip XIV of Spain."

Though these albums landed at a time when American Primitive guitar music's 1960s & 1970s heyday was in the rear view mirror, they absolutely look ahead to the genre's eventual 21st Century resurrection, anticipating both in form & content many of the same concerns you find in the great contemporary work of the last two decades by Jack Rose, Glenn Jones, Daniel Bachman, et al., and as such provide about as fine a stepping stone between these two eras as you're likely to find.

Neither Here Nor There

Eirigh Suas A Stoirin

The Mistral, is a strong wind that commonly occurs in southern France, blowing down from the north along the lower Rhône River valley toward the Mediterranean Sea. As the wind reaches the Rhône delta, gusts can often hit speeds of 130 km (about 80 miles) per hour.

This recording was taken from the bedroom window of an old "Mas" (farmhouse) just outside Barbentane (Bouches-du-Rhône) with the mics pointing directly at a Plane tree (platane)at least 250 years old.

Sound Devices Mix Pre 6 + 2 x Sennheiser MKH 8040s (ORTF)
24.08.2021

Strong "Mistral" Wind - Barbentane, France

708 - Times Two

Buy it here
https://cuneiformrecords.bandcamp.com/album/spectral-music

Guillaume Aventurin – guitar
Julien Bigorgne – flute, oud
Alexis Collin – accordion, sound manipulation
Xavier Gélard – drums, guitars, voices
Gregory Kosovski – bass
Morgan Lowenstein – percussion
Nadia Mejri-Chapelle – cello
Tom Namias – guitars, bouzouki
Camille Petit – keyboards
Maxime Thiébaut – alto, soprano and baritone sax
Antoine Villedieu – violins
with
Sarah Baroux – voices (8)
Sonia Bricout – voices (11)
Jérôme Lacquet – trumpet

GHOST RHYTHMS "Thoughtography" from "Spectral Music" (Cuneiform Records)

The sum of everything.
Where all the moments of the journey come together as one complete whole.

Composed, performed and mastered by UPFUSION.

Sigma

Hidden

Hidden (PROMO)

"A Glimpse Of Hope" is about the need to build a home for hope during dark times. 

Released by © Healing Sound Propagandist 
HSP-04 | MMXIX 
healingsoundpropagandist.bandcamp.com/album/a-glimpse-of-hope
credits
released November 11, 2019 

Written and performed by Carlos Ferreira using only guitars / loop pedals 
Mixed and mastered by Carlos Ferreira 
Layout and design by 扎克 

— 

© Healing Sound Propagandist 
HSP-04 | MMXIX 
pastinsidethepresent.com/hsp 
healingsoundpropagandist.bandcamp.com

// A Glimpse Of Hope (Healing Sound Propagandist, 2019) [Full Album]

Come Eluding I

Kalimba, saxophone, bass clarinet, effects and looper. And some keyboards.

Rat In The Pipe

Hi, I'm a keys player and I like making up grooves to existing jazz and latin standards. Over the last few years I've been mainly working on original numbers.

It's just me in the music you hear, I play all the parts off a keyboard recording in midi and layer up into the finished version.

I started playing the piano as a kid , then took up the trombone and played for fun in various local amateur bands and orchestras. Then at 18 went to college and didn't do anything  musically  for many years. Started playing the saxophone and tuba more recently, and in the last four years or so got back into the keyboard which is now my main instrument.

I like making up jazzy  late night music & music you can listen to when travelling. Sounds like a strange thing but I find the most enjoyable part of a holiday is the travelling part, whether that's on a plane , train or even a car on a quiet road with some nice views. Looking through a window with a changing view, in a bubble of suspended time between two worlds, that's what travelling feels like to me, and I like to write music that sounds that way - http://soundcloud.com/markd54321/361-stolen-moments-320kbps . Can't really explain it any better than that for now. Cheers Mark

708 - Times Two

Mark Dorricott Music

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