included this beautiful track on my podcast... while telling people how this song makes me get up in the morning :) https://soundcloud.com/machinewoman/sonic-disturbances-podcast-1-1

Faith In Strangers’ was written and produced between January 2013 and June 2014, and was edited and sequenced in late July this year. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it’s a largely analogue variant of hi-tech production styles arcing from the dissonant to the sublime. The first two tracks recorded during these early sessions bookend the release, the opener ‘Time Away’ featuring Euphonium played by Kim Holly Thorpe and last track ‘Missing’ a contribution by Stott’s occasional vocal collaborator Alison Skidmore who also appeared on 2012’s ‘Luxury Problems’. Between these two points ‘Faith In Strangers’ heads off from the sparse and infected ‘Violence’ to the broken, downcast pop of ‘On Oath’ and the motorik, driving melancholy of ‘Science & Industry’ - three vocal tracks built around that angular production style that imbues proceedings with both a pioneering spirit and a resonating sense of familiarity. Things take a sharp turn with ‘No Surrender’- a sparkling analogue jam making way for a tough, smudged rhythmic assault, while ‘How It Was’ refracts sweaty Warehouse signatures and ‘Damage’ finds the sweet spot between RZA’s classic ‘Ghost Dog’ and Terror Danjah at his most brutal. ‘Faith in Strangers’ is next and offers perhaps the most beautiful and open track here, its vocal hook and chiming melody bound to the rest of the album via the almost inaudible hum of Stott’s mixing desk. It provides a haze of warmth and nostalgia that ties the nine loose joints that make up the LP into the most memorable and oddly cohesive of Stott’s career to date, built and rendered in the spirit of those rare albums that straddle innovation and tradition through darkness and light.

Science And Industry

The Future

Number02

"How To Swallow A Sword"

4. HOW TO SWALLOW A SWORD

Music composed and produced by Caterina Barbieri between September 2015 and January 2016. Mixed at Elektronmusikstudion in
Stockholm (SE). Composed with an ER-101 Indexed Quad 
Sequencer and a Verbos Harmonic Oscillator. 
Images by Giovanni Brunetto 
Photography by Angelo Jaroszuk Bogasz 
Mastered by Giuseppe Ielasi 
First edition pressing of 500 double LPs packaged in a gatefold jacket. An edition of 200 sets on transparent blue vinyl is available for Important mailorder customers: http://importantrecords.com/imprec/imprec449
Bandcamp: https://caterinabarbieri.bandcamp.com/album/patterns-of-consciousness
"...has an imperial, exacting beauty." (The Wire)
“…few albums have hit us as hard as Caterina Barbieri’s 70-minute opus, Patterns Of Consciousness. On her debut full-length, Barbieri commands tsunami-height waves of arpeggiated analog synths." (Fact Mag)
"Patterns Of Consciousness finds Caterina Barbieri at her best, elegantly moving between melodically pleasant yet twisted sequences and comforting, reassuring sonic spaces. Every piece, while given a singular identity, is part of the bigger picture: a work of art that will push you, pull you, and then eventually leave you with your back against the wall once you get to the last track. " Alessandro Cortini (Nine Inch Nails)

Gravity that Binds

oqbqbo "Untitled" CS 

The Russian born, Copenhagen via Tokyo resident Oqbqbo’s first solo release for Posh Isolation comes in the form of an untitled mini album released digitally and as a limited cassette, following a few self released recordings and soundcloud singles, besides her recent contribution to KYO’s remix album of “All The Same Dream”. 
Her Posh Isolation debut consists of six songs of synthetic textures and mangled, wordless voices and paints a beautiful dark portrait of the present. 
Modern melodic heartbreak. Kawaii! 

Posh Isolation 222
100 Copies

oqbqbo - Rei

Taken from th album 'Ecstatic Computation' releasedas LP and Download

Ecstatic Computation

Caterina Barbieri 'Fantas' (EMEGO 259)

Andy Stott Leaving

Following on from a pair of Extended Players released in 2011 ("Passed Me By" / "We Stay Together") Andy Stott returns to Modern Love with 'Luxury Problems', an 8 track album of new material recorded over the last 12 months. Five of the tracks on the album feature the voice of Alison Skidmore, Andy's onetime Piano teacher whom he hadnt seen since he was a teenager back in 1996. There was no grand gesture in mind, it just sort of happened - but after almost a year of studio work the result is really quite unlike anything you'll have heard from him before. 'Numb' opens the album with Alison's voice; layered and looped but essentially left bare and exposed, tumbling into a dense shuffle, sort of somewhere between Theo Parrish and Sade, but more f*cked. 'Lost and Found' follows and deploys a growling rave bassline and a disturbed vocal, the beat assembling itself around a squashed Linndrum like a submerged Prince/Cameo production, haunted and impenetrable, but full of funk. 'Sleepless' started life as an African drum edit that sooner or later succumbed to Stott's intense rhythmic shifts. It's a sound that's been imitated countless times since the release of 'Passed Me By', here re-tooled and re-built for its next evolutionary phase. 'Hatch The Plan' ends the first half of the album with some heavily treated location recordings and a low end grind that probably doesnt quite prepare you for the vocal arrangements that follow - it's just a beautifuly inverted pop song. The second half opens with 'Expecting', the most recognisably 'Stott' moment on the album: a wrecked, deliriously knocked-out 4/4 shuffle deployed at halfspeed; those heavy kickdrums sucking in everything around them. 'Luxury Problems' is next and offers up the album's most quietly euphoric and open 5 minutes; conventional arrangements and drumloops disrupted by sharp disco bursts that mess with what you know: it's straight and beautiful and unbalanced and damaged, somehow all at once. "Up the box" switches up the narrative and goes somewhere else entirely, an extended intro that seems to build continuously for 3 minutes before breaking off into a slowed-down Amen edit, creating a kind of narcotic Jungle variant that fragments everything and ends just at the point you think it's going to go off, before "Leaving" finishes the album with an almost unbareably beautiful arrangement of voice and synth and a final key-change that takes you from joyful to forlorn in an instant.

01-Numb

04-Hatch the plan

FUJI||||||||||TA, iki, LP

Release date - April 3th 2020
Catalogue nr. - HG2003
Format - Ltd. Vinyl/digital

https://hallowground.bandcamp.com

Credits:
All music composed, played and Recorded by FUJI|||||||||||TA
Mixed by Makoto Oshiro
Mastering by Lawrence English at Negative Space

Tracklist:
1) keshiki (09:42)
2) nNami (09:20)
3) osoi (10:12)
4) sukima (07:03)

///
"FUJI|||||||||||TA has created a work that operates as a beautiful nexus between the material and immaterial qualities of music. 
It is a lived-in dreamscape of deep, rich tonality. A remarkable debut."
(Lawrence English)

///
FUJI||||||||||TA, real name FUJITA Yosuke, is a Japanese sound artist. After countless performances in different contexts either solo or along artists such as Yamantaka Eye of Boredoms and the legendary avant-gardist SUZUKI Akio as well as a slew of solo releases, his LP »iki« (»breath«) for the Swiss-based Hallow Ground label is his first in nine years. On these four pieces, Fujita explores the idiosyncratic sound qualities of the pipe organ he has built all by himself in 2009. This - quite literally unique - instrument features only eleven pipes, an air pump called »fuigo« which was modelled after a traditional blacksmith’s one and has no keyboard. Inspired by traditional gagaku, it was designed to evoke rich landscapes rather function as just another musical instrument. While his previous records saw FUJI||||||||||TA explore various modes of abstraction, »iki« is a highly emotive yet meditative album, musically restrained but full of imagination.

»keshiki« immediately sets the mood for this record with a long sustained note that is punctuated by the soft clicking of Fujita’s air pump. Once Fujita carefully starts bringing melodies into play, the interplay of the drone and the discrete rhythmic element gives way to a fuller harmonic whole. »keshiki« is an intimate piece that perfectly displays the artist’s knack for painting a rich sonic picture with only a reduced palette. »nNami« juxtaposes the sounds of two pipes that are out of tune with each other, creating a hypnotic sensation of ebb and flow (»nami« translates to »wave«) that is full of subtle friction. It’s a staggering artistic interpretation of the instrument’s material characteristics. Clocking in at ten minutes, »osoi« (»slow«) is an overall melancholic piece that explores the relationship between different tone colours through minute changes in pace. Finally, »sukima« (»blank space«) is the shortest and the most rhythmic piece of the four. Composed of only staccati, it is a masterful exploration of the harmonic qualities Fujita’s stunning pipe organ has to offer.

Recorded between September and December of 2019, »iki« marks the culmination of FUJI||||||||||TA’s ten-year-long work with the instrument that he had built without any prior knowledge and started to teach himself to play without a manual in sight. It is, in other words, the unique result of a unique musical mind paying his dues to the uniqueness of his own creation; introspective and welcoming at once.

04-Hatch the plan

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