mvc 57

From the upcoming Album "Vegetal Negatives"
Release Date 29 March 2019
Hallowground.com
HG1901
Vinyl / Digital

”Let us unfold the animal outward: the bronchia will become a thick foliage, keeping its respiratory function, but in reverse, naturally (CO2 absorption), reversed also concerning color, from the tint of calves’ lungs to its complementary cabbage green. The digestive system will become roots, maintaining its role of drawing in nourishment from the outside environment. […] for each animal form there exists a corresponding vegetal form. The man who would find his vegetal negative and unite with it would restore the integrity of the cosmos.”

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.

Marja Ahti (b. 1981) is a Swedish-born artist living and working in Turku, Finland. She has been an active part of the Finnish experimental music scene for more than ten years. Now arriving at her debut LP under her own name, Ahti explores a new formal language and sonic palette that ventures far from the path of her earlier work.

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.

Tracklist:
A1) Coastal Inversion (12:14)		B1) Symbiogenesis (07:22)
A2) Rooftop Gardens (05:44)		B2) Chora (10:47)

Credits:
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

BUY VINYL/DL

MARJA AHTI - Symbiogenesis (HG1901)

cuts of "der kleine freitag" - session (December 19)
every thursday roundabout 8pm
at pfund & dollar / stockmeyerstr 43, hamburg

you`re welcome to join us!

participants for these cuts:

- rita -
- fool -
- kskefk -
- loco motiva -
- caro -

recorded with TASCAM DR-40
released January 12, 2020

TASCAM_08XX

TASCAM_0829

Guest mix for faitiche's radio show on LYL - Temple of Faitiche, Nº20, 27 March 2020 

https://lyl.live/episode/temple-of-faitiche-20/

Hanno Leichtmann – Selbstbespiegelung
Else Marie Pade – Syv Cirkler
Andrés Lewin-Richter – Study No. 1
Fracture Mechanics – Pendentive
Katrine Ring – Den Politiske Håndvask 1
Boris Hegenbart – Wasser Studie
Marja Ahti – Chora
Hideki Umezawa – Still | Steel
Marcus Schmickler – Wabi Sabi (Part 4)
Boris Hegenbart – Wasser Studie
Nicola Ratti – Bn2
Daniel Majer – Tu Lip
Jan Jelinek – Framework 10 (Remix)
Mads Emil Nielsen – Buchla Sketch
Riviera Tape Stash – Strong Arm Baby
Ahnnu – Dovetail
Boris Hegenbart with Stephan Mathieu – S Anode M
David Moss – Terrain 3
James Sey / James Webb – Book Of Imaginary Wavelengths: Book 5
Mads Emil Nielsen – Framework 3 – 3
Andrew Pekler – Tuanahe

https://faitiche.de/blog/2020/03/25/temple-of-faitiche-march-2020

Temple of Faitiche 20 - guest mix

taken from "Principle" EP by @eusebeia (incl. remixes from Baldo, Voidloss and myself)

out on Diffuse Reality Records [DRSS 40021]

https://diffusereality.bandcamp.com/album/eusebeia-album-with-remixes-of-zhe-pechorin-baldo-voidloss

Eusebeia - Principle (Zhe Pechorin Remix)

Had a lot of fun teaming back up with the big homie, @shwillyum , to flip the absolute classic, YMCA by Village People. We dont own any of the rights to the original tune, just wanted to do an homage to one of my personal favorite disco songs. So much love yall :)

Huge shout out to @kidkoma for coming through the fire cover art <3

Free Download

Why Am See Aye w/ shwiLLy

rain

Handstitched* update: pre-orders are now available for the new Oberlin album, "Übersee".

https://handstitched.bandcamp.com/album/bersee

Oberlin and Handstitched* meet again for another stunning release. After the first release "Lent" was released in early 2019, Oberlin is back with "Übersee" - a full-length odyssey, balancing smack-dab on the edge of darkness and shimmering clarity.

"Übersee" is an old german term for the lands across the sea - an imagined journey to unfrequented places, the title existed months before the recent travel-restrictions, nevertheless it still resonates in the nostalgic term somehow, too.

"Übersee" comes in a limited-edition gatefold book cover with unique mini collages created by Handstitched* and Spirograph artworks in four individual designs by Carolyn Sleith, 35mm film negatives are applied to the insert strip with hand-stamped CD's and each edition comes hand-numbered.

Artwork, collages, design and packaging by Handstitched*
Individual Spirograph designs hand-drawn by Carolyn Sleith.
Limited to 40, hand-numbered copies.

All music written and recorded by Oberlin with a Eurorack Modular system and electric guitar in 2018 at Oberlin's Studio 4 in Koblenz, Germany.

For more info about Oberlin, or to check out his other releases: https://oberlin.bandcamp.com

Oberlin - Übersee [S4mpl3r]

w/ @ocoenia

now out in stores, and for free download

Chevy Impala feat. Ocoenia

spotify

Chevy Impala Feat. Ocoenia [in stores now!]

David Toop – Field Recording And Fox Spirits 2

Get to know me by joining me over on Twitch where I make beats from scratch and play games -> www.twitch.tv/puarbeats

Hawkins

First track of my new record 'Titania Moon' on Ultra Eczema !
https://ultraeczema.bandcamp.com/album/titania-moon?fbclid=IwAR1_8jUkSTF6u2G1KM1_wjE4iK1XOQOUPzDrIjndulPsEXIfmlmDK_l-tSQ

Melting Ice Giant

"I've been working on material recorded at the former UK Ministry of Defence site Orford Ness on the East England Suffolk coast. 
Since the Ministry of Defence left in 1993, the buildings have been overrun by nature.

The excitement felt by Bletchley Park's wartime code breakers was echoed here too: Britain's greatest scientific brains, along with 400 civilians and thousands of unacknowledged Chinese migrant workers all worked on developing the UK’s first nuclear weapon.

Today the place gives us a sense of what a post-apocalyptic environment might look and sound like. Air ducts once now burst open with the packed nests of roosting birds. There are seagulls 'playing' the atomic weapons laboratories with their cries; baby jackdaws duetting with gravel footsteps; metal stairwells transformed into aeolian harps. " Iain Chambers, Orford Ness.
-------------------------
About Iain:
Iain Chambers is a composer and producer whose music often deploys field recordings and location sounds as musical material.

Iain's work is heard live in concerts, radio, sound installations and multimedia. His feature-length symphonies of industrial sounds have been commissioned by BBC Radio 3, WDR Cologne and ABC Australia.

In 2019 Iain launched the independent record label Persistence of Sound, presenting new musique concrète and field recordings.

Iain is a founder member of Langham Research Centre, an electronic music ensemble using obsolete Cold War era technology to create new music. The group also create new realisations of 20th century electronic works by composers John Cage, Alvin Lucier and Christian Wolff using an unusual instrumentarium: analogue tape, sine-wave oscillators, analogue radios and phonograph cartridges. LRC perform internationally, and released “Tape Works (Vol. 1)” on the Nonclassical label in 2017.

All tracks by Iain Chambers
Mastered by Nima Aghiani
Photography: Ian Rawes
Design: Kate Carr

Secrets of Orford Ness (excerpt) - Iain Chambers out October 27

Track from:
Simon Whetham "Forced to Repeat Myself" CD

“When performing with a limited set of resources, through choices in materials to work with and the constraints of being nomadic, there can be a tendency to repeat actions and scenes that 'work', even when improvising and having to respond to each new situation in a unique way.”

One characteristic aspect of the touring experience that is not discussed often enough is the dilemma of repetition. Not repetition as a mechanism of the work itself, but as a tedious consequence of being obligated to perform night after night in quick succession. Generating a completely unique performance for each stop, even with the assistance of improvisation,  is a laborious undertaking that consumes too much time and sanity, while adhering to a rigid set of rules leaves one open to both burnout and diminishing returns. Is there a way to split the difference so that both performer and audience are always engaged to the highest standard?

“I set these constraints on myself. The need to produce something (at least a little) different in each event of a tour was fierce, especially when traveling with other musicians.”

Explicitly within the title itself of his latest CD, Forced To Repeat Myself, UK sound artist and composer Simon Whetham tackles these questions with both a sly wit and sincere inquisitiveness. The tracks, all collected from recordings documenting a 2018 tour, utilize analogous source material and means of execution.  Whetham paid particular attention to the contour and character of each venue when deciding how to best put the pieces together, offering a customization that subverts pure deja vu for a sharp observance of the unfamiliar.

“In each situation objects and materials unique to the space were incorporated into the performance setup and structure, generating sounds or resonating with them. And yet I could hear similar scenes, movements, even spaces. This repetition determined the dynamic of the composition, working with it and against it.”

By the very nature of their disseminating sparseness, the tracks of Forced To Repeat Myself demand from the listener an attentiveness fixed on nuance and variation. The amplified cracks and static of ethereal currents and anonymous electronics infer the works of others who’ve made it their mission to attune our attention toward sounds outside our natural perception, including Christina Kubisch’s electrical walks, Toshimaru Nakamura’s no-input mixer excursions, and Jason Zeh’s experiments with blank tapes and the mechanizations of his cassette players. Whetham’s shaping of the album’s source material to highlight certain exclusivities of each live performance emphasizes how the inherent dynamics of time and chance guide his self-imposed constraints into pathbreaking spectrums. 

“The title references a phrase many of us will have heard in our formative years, ’Why do you force me to repeat myself?’ I have no answer to this question. I never forced anyone to do anything. But with this work, I did.”

One inherent paradox of Forced To Repeat Myself is that each listen naturally manifests a distinct, individual experience. The way sounds are received and processed in one instance to the next each forget their own entryway into transcribing meaning from this abstraction. And Whetham is keenly aware of this as the sounds of Forced To Repeat Myself find consistent, unique ways to perpetuate themselves, ensuring any repetition to be delicately understated.

Forced to Repeat Myself

Forced to repeat Myself

Simon Whetham "08-11"

From 'Mountains Become Stepping Stones,' out Dec. 4 on NNA Tapes

> https://hazalelif.bandcamp.com/album/mountains-become-stepping-stones

Follow Elif here: soundcloud.com/hazalelif

Elif Yalvaç - Brocken Spectre

Playlist and other information available at: https://www.freeformfreakout.com/fffoxy-podcast-178/

FFFoxy Podcast #178

LateNightRadioShow EVERY SUNDAY 22h / 10pm CET                                                                   ___@___ www.stayfm.com

PODCASTS___@___https://hearthis.at/stayfm/set/magyc-voodoo-club/
_____ https://www.facebook.com/EasyPtheOG ______

our sound cloud is using only as sample listening for our web store. all items are distributing and selling by us. it is not intend to share sound sources. we are respect other people’s copyright. therefore if you want to remove a track from this account or any problem, please let us know the notice via our website. thank you for your understanding.

David Toop – Field Recording And Fox Spirits 2

meditations

Recent comments

Zesknel

Related tracks