From the upcoming album:
Hallow Ground presents: EPIPHANIES
Release date - March 25th 2022
Format - Double-vinyl / digital
White vinyl, gatefold cover, silver stamped, spot-gloss printed
Catalogue nr. - HG2222
Hallow Ground

hallowground.bandcamp.com

Tracklist:

1) Remo Seeland (with Laya Ensemble) - Baldachin
2) A Frei - Peri-Acoustic Feedbacks
3) Maria W Horn - Oinones Death pt. I
4) Amosphère – Withinside

5) FUJI||||||||||TA - Kumo
6) Lawrence English - Outside The City of God (Augustine wept)
7) Samuel Savenberg - The Endless Present
8) Siavash Amini - Spuming Silver

9) Magda Drozd - Suspended Stream
10) Akira Sileas - Excerpt from Piano Study
11) Laurin Huber - Puolipilvistä (Partly Cloudy)
12) Norman Westberg - For Alice

13) Miki Yui - Alternatio
14) Reinier van Houdt - Dream Tract
15) Valentina Magaletti - The Narrower Frame
16) Martina Lussi - Losing Ground

///
On Epiphanies, the first-ever "concept-compilation" to be released by Hallow Ground, artists such as Maria W Horn, FUJI||||||||||TA, Lawrence English, Siavash Amini and Norman Westberg, who all have previously released music on the Swiss label, were commissioned to pursue a non-rational creative process in approaching the phenomenon of epiphany through sound. In very different ways, all of the compositions on the compilation draw on the unique emotional powers of certain acoustic instruments, obfuscating the borders between physicality and abstraction. 

The results, whether long-form, short vignettes, profane and concrete sounds or spiritual and abstract pieces, perfectly encapsulate what Hallow Ground as a label has stood for since its inception in the year 2013: challenging not only conventional notions of what music is supposed to sound like but also the listeners’ perception through the power of sound. 

On Epiphanies, Hallow Ground also welcomes artists including Magda Drozd, Akira Sileas and Valentina Magaletti to make their first ever contributions to the label.

For those who greet this compilation with open ears and minds, these 81 minutes will deliver on its title.

Maria W Horn - Oinones Death Pt  I (from EPIPHANIES)

During the summer of 2021, Delphine Dora was invited for a residency at the church of St Saphorin (Switzerland), on the occasion of the Jolie Vue Festival. Having the opportunity  to fully explore the organ the days before the actual festival, Delphine improvised a long, long series of tracks, of which you’ll find a small selection on ‘hymnes apophatiques’.
She’s definitely full of respect for the organ, at some moments diving deep in the sound traditionally associated with this rich instrument – the one you’ll recognize from the hours spent in church as a kid. However, at many moments throughout the album the sound is more playful than we’re used to. It’s a fearless approach. The fact that she dares to intervene with her voice quite often really makes her recordings stand out from those of many other artists who have been experimenting with a church organ lately: she definitely has a high regards for the tradition of the organ, but refuses to bow. She’s in charge, not the instrument itself. This way, Delphine manages to bend the sound completely her way. 
It’s an enthralling listen, that not only takes you along all the possibilities of the instrument, but also through Delphine’s entire musical path. And that’s quite a journey.

Hymnes Apophatiques****

S'extraire De L'abîme

Arturas Bumšteinas
So-called Space
Sloow Tapes- CS 30

Continuum-collage piece by Lithuanian composer Arturas Bumšteinas created in 2015 from incidental music sampled from various Lithuanian radio drama's from the 1950's to 2000's. A strange heady brew which juxtaposes music, sound effects, rudiments of vocal expression and various acoustic instruments among others in a compelling cut-up, reminding at times of People Like Us or Dirk Schaeffer's recent work for Peter Tscherkassky's movies. Edition of 70 copies.

Arturas Bumšteinas

live recorded at les ateliers claus 11.03.2022

Piotr Kurek - live ateliers claus

Extract from 'Image Langage' (SP140)
Out June, 24th 2022 on 2xLPs, CD, digital download.

Order: https://feliciaatkinson.bandcamp.com/album/image-langage

—
Opening the window, I look at the light, it connects me to something more vast.

Felicia Atkinson’s music always puts the listener somewhere in particular. There are two categories of place that are important to Image Language: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record—Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy—the landscape is what is waiting for you when you leave the house, and vice-versa. Each threatens—or is it offers, kindly, even promises?—to dissolve the other. Recognizing the normalization of home studios these days, she revisited twentieth-century women artists who variously chose, and were chosen by, their homes as a place to work: the desert retreats of Agnes Martin and Georgia O’Keefe, the life and death of Sylvia Plath. Building a record is like building a house: a structure in which one can encounter oneself, each room a song with its own function in the project of everyday life.

At times listening to Image Language is immediate, something like visiting a house by the sea, sharing the same ground, being invited to witness Atkinson’s acts of seeing, hearing, and reading in a sonic double of the places they occurred. In an aching moment of clarity in “The Lake is Speaking,” a pair of voices emerge out of the primordial murk of piano and organ, accompanying the listener to the edge of a reflective pool that makes a mirror of the cosmos. “I open my feet to fresh dirt, and the wet grass. I hold your hand. You hold his hand. In the distance without any distance. The comets, the stars.” At other times, listening to Image Language is more like being in a theater, the composition a tangle of flickering forms and media that illuminate as best they can the darkness from which we experience it. On “Pieces of Sylvia,” a noirish orchestra drones and clatters beneath and around a montage of vocal images, stretching the listener across time, space, subjectivities. Atkinson says that Image Language is like the fake title of a fake Godard film. There is indeed something cinematic about Atkinson’s work—not cinematic in the sense that it sounds like the score for someone else’s film, but cinematic in the sense that it produces its own images and language and narratives, a kind of deliberate, dimensional world-building in sound.

Image Language is built from instruments recorded as if field recordings, sound-images of instruments conjured from a keyboard, instruments Atkinson treats like characters, what she calls “a fantasy of an orchestra that doesn’t exist.” And then, speaking of Godard, there are the monologues, operating as both experimental-cinematic device and a literary style of narration. Voice can be a writerly anchor or a wisp of a textural presence. Atkinson’s capacious and slippery speech plunges into and out of the compositional depths, shifting shapes, channeling the voices of any number of beings, subjectivities, or elements of her surroundings—not unlike her midi keyboard, able to speak as a vast array of instruments.

Image Language is an environmental record, in the vastest sense of the world. It is about getting lost in places imagined and real; it registers, too, the dizzying feeling of moving between such sites. It puts forth a concept of self that is hopelessly entangled with the rest of the world, born of both the ache of distance and the warmth of proximity.

— Thea Ballard, 02.2022

Image Language

Becoming a stone

FELICIA ATKINSON 'Becoming a Stone' (SP140)

"Cour D'amour" from amazing DOGTAPE VOL.10 by Tabula Nul
Cassette & digital available here :https://lostdogsentertainment.bandcamp.com/album/dogtape-vol-10-subtabula

Tabula Nul : Cour D'amour

From "Eight Fantasies" (Trona, 2022)

buy here: https://halles.bandcamp.com/album/eight-fantasies
https://les-hall.es

Les Halles returns with his first new material since 2019’s Golden Hour tape for Hare Akedod. Its origins are something of a mystery to its maker. Floating textures and smeared cloud loops, born of long nocturnal sessions, inspired by a 2022 trip through the California desert. Eight Fantasies is Les Halles’ inaugural release on his new collaborative label / platform, Trona, which will showcase his work and that of an inner circle of peers. As ever, his signature sound is rich with emotion, dreams, and memory, lilting on the winds of change and dissipation. May this be the dawn of many more fantasies to come. (Britt Brown, Not Not Fun)

-

Lieven Martens (Edições CN) on Eight Fantasies:

« A January night in the Gulf Stream, quite some time ago. I sat on a stone wall. Watching the bioluminescence spectacle in the ocean. The moon shone mildly. Fish, and other mammals weaving faiths below the waves. Colors flashing in the breakers.

The hiss.

I cried that night for no reason. Did that ever happen to you? In my mind there was a melody playing by Tatsuro Yamashita. Did that ever happen to you? It was not a sad melody - Rainy Walk. But still I cried.

Tears foretell early morning rain.

Over the course of the past few months, Club Brugge’s esteemed midfielder Casper Nielsen, cried twice. With a reason. Raining his soul over the television screen.

Ssssshhhh.

My partner throwing little pebbles in the water. Flashes of fluorescent light. Like a kid splashing with paint on a deep blue paper. Dripping ohs and aahs.

This music - the best music. Brings rain. A silver rain. May your day water by the tears of Baptiste Martin. »

- 
credits
released November 4, 2022

Music by Baptiste Martin.
Recorded in Brussels, 2022.
Master & Cover by Trona.

Total duration: 32'43.

℗ 2022 TRONA.

Les Halles - View On Golden Gate

KASSEL JAEGER 'Shift In Dreams' (SP144)

From the album 'Shift In Dreams', out on Feb. 24, 2023 on Shelter Press
Order: https://kasseljaeger.bandcamp.com/album/shifted-in-dreams

Music composed and performed by François J. Bonnet
Artwork by Eléonore Huisse
Mastering by Giuseppe Ielasi

Shifted In Dreams

KASSEL JAEGER 'Shifted In Dreams' (SP144)

Building on the improvisation "Monody for D.C." available on my channel, this version employs 61 iterations of the original melody to create a 'hypercanon', a form I developed and used on my album MEGASTRUCTURES.

Disclaimer to the spooks: 'hypercanon' is a musical form/structure, not a weapon!

Hypercanon for D.C.

AUDIO VISIT TAPE CARD 
Tokyo Sept 2017 C-12 
Praat5383

Xilo Obachia Que Tentenna

snf04 : giuseppe ielasi "even when they speak of space" out dec.15th 2017.

music for whistling, microphone and digital degradation. 
recorded in november 2016 and august 2017. 
to be played at low volume.

www.senufoeditions.com

snf04 : giuseppe ielasi "even when they speak of space" part 1

vinyl, cd, lathe, tape, zines and shows since 2000

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Morc Records

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