Carefully navigating her way along the shifting horizon line of our present condition, Istanbul-based composer Ekin Fil never fails to find new pathways with the seemingly eternal nature of her reverb-saturated guitar sceneries. Aquarius/Pisces, her latest creation on Possible Motive, uncovers two tracks of carefully alluring and ambient sonics. The release is available globally on selected digital outlets and as a strictly limited hand engraved 7" lathe-cut vinyl disc.

https://possiblemotive.bandcamp.com/album/aquarius-pisces
https://ekinfil.bandcamp.com/album/aquarius-pisces

Ekin Fil - Aquarius

BF08: Argot - "Boys Idolizing Girls"

thought you were sweet

Decembra Cervantes & Austin Davis use an array of microphones, gongs, crystal singing bowls, and other sound healing instruments to engage in deep and experimental sonic mediations.

"Think About It" (gong loop experiment 1) - Decembra & Austin

I don’t know what’s real and I don’t think I want to

https://trackermatte.bandcamp.com/album/n

Nemerabím

Origin of Erosion (feat. soho rezanejad & nils gröndahl)

John Luther Adams Canticles of the Sky (RVNGNL48 - 320 - Promo)

Sky With Nameless Colors

http://shop.raster-noton.net/?pid=269

»the title ›and IV (inertia)‹ refers to a fictionalized successor of the baksan neutrino telescope in the caucasus region. at first, it has been an idea for a novel, based on the consideration that it is impossible to deal with the topic of a ›lebensraum‹ like berlin without being hit by stylization – so I had to experiment with strategies of fiction.«

with »and IV (inertia)«, grischa lichtenberger presents his first full length record on raster-noton after his participation in the unun-series. for his musical production, he uses field recordings of his environment which are manipulated and broken down to their bare nakedness until only fragments are left. apart from analogue sources, he also uses digital sound data which is likewise turned and twisted until the boundaries between analogue and digital are blurred.

the arrangement of these atomic elements results in a rather rough and brute, machine-like cut-up sound with an outstanding dynamic – almost none. it seems like that the 21 tracks only consist of a minimal set of elements, but which are rearranged in a virtuous manner and with a high degree of variation. broken beats and dribbling basses allude to downbeat tunes, let one stumble because of their arhythmicity, to eventually take up the underlying groove again. equally, there are fierce and harsh technoid elements. and towards the second part of the record, there is also room for new developments where more introverted and airy songs take over.

lichtenberger’s musical production on »and IV (inertia)« goes in line with his general artistic work, which also comprises other artistic genres such as installations and paintings. there is a mental attitude behind all this, and while the music sounds abstract, one may still identify his personal note. In this way, »and IV (inertia)« is the extension of a concept he already started with his »~treibgut« ep (r-n112), »to define aspects of legitimation for an artistic work in engagement with the concreteness of one’s living situation.«

grischa lichtenberger. 1110_01_lv_1b. taken from grischa lichtenberger. and IV (inertia)

Lifted - 2
Format: LP / Digital
Label: PAN
Cat.No. PAN 85
Release Date: 07 June 2019
Buy: bit.ly/2W0yIL6 / bit.ly/30OhkwC

PAN welcomes back the Lifted ensemble for a second cross-continental adventure off the grid, simply titled Lifted 2.

Lifted’s latest release expands on the expression of improvised fusion that brought about the spectrum of styles explored on their 2015 debut album for PAN. Expansion is a key theme to Lifted 2, primarily in the musicians involved; Lifted is now a core group of Future Times boss Max D, Matt Papich aka Co La, Jeremy Hyman and Motion Graphics. Expansion also relates to musical ideas Lifted explore and the studio techniques executed.

Whereas the way they approached the idea of improvisation on Lifted 1 was framed in jazz terms, the seven-tracks on this second LP step even further into the vivid unknown. Zero boundaries for the exploratory impulse. “On this record we went a lot deeper into our kind of studio technique,” Lifted say. “We tried to cultivate the sound using the studio as a primary tool, almost a member of the group in a way.”

As with the debut Lifted LP, listening to Lifted 2 is an open invitation to experience the worldwide creative framework surrounding these artists. The collaborators for each track, whether present in the studio or online, show what a fluid and freeform exercise Lifted can be.

Max D’s international crew of Future Timers play deft roles throughout Lifted 2. Jordan GCZ and Dawit Eklund both return for ‘Lifting’ alongside 1432r’s Sami, NYC’s Will DiMaggio and Sao Paulo’s Repetentes 2008. Beatrice Dillon and Bass Clef, two highly-decorated artists from the UK underground, make telling contributions which mark the latest in a long line of celebrated creative collaborations for the pair. Further input comes via Aya, vocalist and bassist for crucial Japanese experimentalists OOIOO, and Martin Kasey, a friend of Papich with a background in Baltimore theatre, summoned for Lifted duty to provide some striking saxophone blasts.

How do all these collaborations manifest on Lifted 2? It’s a sort of inverse process full of blind takes with the results more bruised than polished. “The song stays fluid until the end. We pile the ideas really high and then decimate them,” Lifted say. “We delete until the songs are crystallizing; lay a grid of silences to organize the tracks. The breathing spaces become definitive.”

These seven tracks adroitly weave through mood and vibe, demanding heads lock in with an initial blast of whip sharp percussive hits and contemporary no-wave blowouts before letting off steam with soothing ambient synthesis. “Black Pepper” acts as the album centerpiece, an unhinged mangle of SH101 basslines, freeform flute & saxophone and multiple percussive sources brought to order by Papich’s studio dubs. “Rose 31” edges closest to the kind of jazz fusion that inspired the project from the off, Lifted utilising the various classic instruments deployed by the greats of the game. Closer “Near Future” smartly foregrounds Motion Graphics’ stunning piano talents, gradually stripping away all other elements until all that is left are his swirling notes.

The album is mastered by Rashad Becker, featuring photography by Traianos Pakioufakis and artwork by Johannes Schnatmann & Bill Kouligas.

http://p-a-n.org

Lifted - Mirror In My Room (PAN 85)

Morita Vargas '8', released as HH03 LP by Hidden Harmony Recordings (Estonia)

Morita Vargas – composer, producer, voices

Mastering - Diego Crisalida
Vinyl mastering, lathe cutting - Matt Colton (Metropolis Labs, London)

Recorded in Buenos Aires, Argentina (Recording period 2014-2018)

Long Play purchase:  moritavargas.bandcamp.com
12" 180-gram vinyl record, 33 RPM, black vinyl. Edition of 1000 hand-numbered copies coming in die-cut outer sleeve, color print inner sleeve and protected by additional poly-liner sleeves.

Ginseng

Morita Vargas is an Argentine producer and singer. She explores fantasy soundscapes in languageless lyrics. Morita’s experimentation starts from melodies close to ambient, folk and dream pop where she generates a dreamlike atmosphere using her voice as the main instrument.