TR151 - Katz Mulk - Muscle Memory

A live recording of the premiere of "asleep, forest, melody, path" for field recordings and live performance (2013), written for Greg Stuart. The field recordings were made in the Congaree National Park in 2012 and 2013. Greg assembled an ensemble of 30 local musicians for the concert, which took place on November 18, 2013, at the Columbia Museum of Art in South Carolina.
Performers: 
Cynthia Beavin, Alison Branham, Isaac Brockshus, Chris Buckman, Justin DuRant, George Fetner, Matt Fink, Cera Finney, Ellen Gardiner, Dan Gilmore, Dylan Gonzales,  Nathan Halverson, Jenie Hoffman, Katie Holaway, Peter Hoyt, Chris Johnson, Diane Kessel, Will Kroske, Hannah Lea, Alexi McHugh, Brenton O’Hara, Neil Pelfrey, Hannah Rilley, Nick Royals, Greg Stuart, Josh Thompson, Chau Tran, Jeff Vaughn, Dan Wolfe, Nick Wrobel

Recording: Chris Johnson and Greg Stuart
Mastering: Joe Panzner

asleep, forest, melody, path (for field recording and live performance, 2013)

Recorded, mixed & mastered on 29 Oct & 01 Nov 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa. 

Synths, samples, effects.

This original version of "Go Ahead, Ernie” was submitted as part of Naviar Haiku 617: An Autumn Nightfall

an autumn nightfall
the skeleton of a huge fish
drawn back by the sea.

by: Saitō Sanki

Saitō Sanki (1900 – 1962) was a dentist who discovered his passion for haiku poetry in his mid-thirties, when his colleagues at the hospital in Soto Kanda convinced him to write a haiku for a collection. Later, he became one of the most important exponents of wartime haiku: he was imprisoned in 1940 during the government’s World War II persecution of controversial artists, and was officially forbidden to write until the end of the war.

Photography/Art - Jim Lemanowicz, 30 Oct 2025, Massapequa train station, Massapequa, NY, USA

Music & art © 2025 Jim Lemanowicz

For more about the Naviar Haiku Challenge, see www.naviarrecords.com/haiku-music-challenge

Go Ahead, Ernie (naviarhaiku617)

Taken from Karli White's forthcoming EP 'Trust'.  Cassette to be released on RES, August 4.

Launch: www.facebook.com/events/2174009262830431/
Pre-Order: www.resistancerestraint.bandcamp.com/album/trust

Karli White - Getting Better (RR015)

More info - http://loose-lips.co.uk/blog/saaad-the-western-promise-nahal004
@nahalrecordings @saaadnotes

Orbs And Channels (2018 Reissue)

Western Promise

Pre-order

PREMIERE: Saåad - The Western Promise (NAHAL004)

Premiere of the title track You, Only to be released on the Vaagner Summer Batch, July 1st 2019.

You, Only is a beguiling insight into the world of Turkish musician Ekin Üzeltüzenci and her debut release on Vaknar. 
The album features a series of musical tapestries which prominently include live instrumentation in tandem with Ekin’s own voice, all of which has been fed through a series of tape delays, giving the final outcome a brittle and reflective tone.

Track List:

A1 Ekin Fil - Hope
A2 Ekin Fil - Other, Others
A3 Ekin Fil - You, Only
A4 Ekin Fil - Arise
B1 Ekin Fil - Scar
B2 Ekin Fil - Incident Light

About Ekin Fil:

After a stint of initial tape only albums which included the aforementioned 'Heavy', Ekin Fil went on the produce 4 albums for the Helen Scarsdale Agency. She was awarded "Best Original Film Music" for her first Soundtrack "Kaygi" at SIYAD, 2017 and "Best Film Music" for the Soundtrack of "Korfez - The Gulf" at Türkisches Film Festival in Frankfurt, 2018.
This year she released an LP of separate songs titled KOMA on the Stockholm based imprint Possible Motive.

https://soundcloud.com/vaagner
https://soundcloud.com/ekin-fil

Premiere: Ekin Fil - You, Only [Vaknar]

Thanks for Ace Mix and Mastering from @p1nkf1re and https://p1nkf1re.bandcamp.com/music

Freeze Ray P - P1nkmicks1

Ned Lagin's Seastones is a pioneering electronic composition interweaving metaphors from nature, science, art and music and the origins of music. Reflecting the technology, science, modern art, new ecological awareness and optimism of the times and culture, Seastones embodies the history of electronic music by taking full advantage of tape music, analog synthesizers and computer technology to create pieces that are dynamic, rich and deep.

Originally released by the Grateful Dead's Round Records in 1975, Seastones' reputation as a gem of electronic music was further enhanced by the celebrity of the musicians who contributed to the source material. Seastones musicians include Ned Lagin (processed piano, clavichord, organ, prepared piano, electric piano, synthesizers), Jerry Garcia (processed electric guitar, pedal steel guitar, voice), Phil Lesh (processed electric bass), David Crosby processed electric guitar and vocals), Grace Slick and David Freiberg (processed vocals), and Mickey Hart and Spencer Dryden (percussion).

This new LP presents two crafted Seastones sets (Sets 4 and 5, 18 tracks) drawn from the entire Seastones composition and contains gorgeous extended processed vocals by Garcia, Crosby, Slick and Freiberg, and beautiful abstract instrumental passages by Lagin and all.

Ned Lagin - Seastones - Seastones 03 - LP available Nov. 3, 2020

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.

asleep, forest, melody, path (for field recording and live performance, 2013)

Michael Pisaro