Single from the new album by Zelienople frontman, Matt Christensen called "Constant Green" (June 18th, Miasmah / 300xColoured vinyl). 

As Matt himself describes: " I Had A Vision That I Could Move Anywhere" is  about how much fear does, or doesn't play in our limitations or unwillingness to do things. What is chemistry, genes and fate, and what is choice (if there is any)? In other words, this is a fantasy about free will."

Constant Green

Matt Christensen - I Had A Vision That I Could Move Anywhere

READ > https://inverted-audio.com/premiere-seiichiro-itoyama-burn-burn-burn

Touching on ambient, noise and techno, the fourth release on @seiichiroitoyama-liminal provides a summary of the producer’s musical interests.

Evaporated Emotion

Seiichiro Itoyama - Burn Burn Burn [Liminal]

Seven artists reckon with isolation and subsistence in Dragon’s Eye Recordings’ latest release, titled 'Touch'. Organized by Tomoko Hojo, the album collects six sound pieces by various artists who grapple with the restriction of physical contact through sound. Our ability to touch is a means of survival, an essential and intimate way of living and communing with others. So when it is taken away for the same reason we possess it—for the sake of staying safe—how can it be replaced? What can stand in? 

The pandemic claimed so much; and for a time, touch fell victim. In the album 'Touch', Alexandra Spense, KMRU, Viv Corringham, Myriam Van Imschoot and Federico Protto, Tomoko Hojo, and Melissa Pons prod at means of non-tactile touching. They explore spaces where touch is only a memory, a recording, something missing to find replacements. In assembling this six-piece collection, artist Tomoko Hojo recalls Yoko Ono’s 1964 event which invited attendees to “watch the sky and touch”. Over the course of 'Touch,' the listener is an attendee, witnessing sonic reconstructions of haptic happenings. In each of the album’s pieces, sound grazes unseen surfaces and traces invisible shapes with an absent finger.  

In “Communion”, Alexandra Spense recalls a space where tactility transformed into something more, an instance that dissolved the borders of the physical body to blend spirit with its surroundings. KMRU’s “its not a tangency” relies on repetition to feel the boundaries of its container. Almost like echolocation, the listener relies on distant children’s voices and the monotony of soft drones to situate oneself in an imagined space.  

“Imagine myself walking with you” engages with the physical intimacy created not through touch, but rather physical presence—the nearness of two bodies, the potentiality of tactility, the imprint conversations can leave long after they end. Viv Corringham digitally recreates her process of walking and talking with strangers, instead connecting with a friend online. In “Human Measures”, Myriam Van Imschoot and Federico Protto create an instrument which mimics what touch might sound like by simultaneously breathing into a circulatory system of tubes, wrapped into something like the symbol for infinity.   

In “fall asleep”, Tomoko Hojo conjures whispers, chants, and rings bells to touch the air.  From these sound waves of voice and instrument and element, intentional and drawn out, their dispersal can be felt. It’s when the waves enter the ear that we can hear them. But Hojo asks what happens to other waves that run into other parts of the body, unalive or unhearing.  

The absence of other bodies, the ultimate vehicles of touch, brought Melissa Pons inward with her piece “Three”. Through airy field recordings, scattered static, and gently howling drones, it’s as if Pons watches her emotions float off of her body like the minuscule flakes of skin that comprise dust.  

Each of these six pieces ask to expand outside of sound, to take physical shape, make gestures and wander. In their own unique ways, the artists of 'Touch' attempt to transmute sound into tactility, and they come as close as they can. Collectively, the sound pieces exist within the container of the compilation—an abstract notion that places collections of noise alongside one another. And so what is a compilation if not individual tracks rubbing up against one another, meshing, touching?

Touch

KMRU - Its not a tangency

»Neon City« is the debut release by Erik K Skodvin & Otto A Totland's Deaf Center project, finally re-issued 18 years since its first appearance.

Jan 28th, Miasmah rec.

Deaf Center - Limn

MIXED SIGNALS II represents the next chapter of Fax and Braulio Lam’s collaboration, which started with their first EP in 2020. Across four tracks, they navigate creative exploration, and wander among the textures, colors, and sizes that sound can possess. 
  
Much like its predecessor MIXED SIGNALS, the sequel EP delivers a meditative ambient swirl, dedicated to finding balance while still moving. And yet, if the first album was to be considered grounded and earthy, MIXED SIGNALS II is determined to challenge gravity—it creates spacious cinematic landscapes that stretch out and up.  

The four tracks are distinctive in their progression: The airy subtleties of the field recordings in ”Fragmented” take off and open up into an expanse of drone, with echoes of feedback further off in the distance. “Porta” twinkles in a dark sky; it wavers slightly in a liminal space of gradual transformation. In “Visions”, there is a hypnotic revelation, with an underlying heartbeat that gently draws one into its ascent. Finishing with the title track, “Mixed Signals II” is a docking; it rotates as it revolves, slowly considering what lies beyond its own orbit. 

This meditative soundtrack is like a hazy black and white image, captured by a telescope or transmitted by a satellite, hinting at what lies far beyond our own limits of perception. The arrangement of acoustic instruments and electric guitars layer with field recordings and synthesizers to create a hypnotic reflection on sound—how it reaches out in the space around it, how it rises, how it looks, and how it feels.  

MIXED SIGNALS II was recorded between Tijuana and Mexicali, in Mexico by musicians Braulio Lam and Ruben Tamayo (a.k.a. Fax). Together, the artists built upon their first collaboration to pass beyond the horizon of instrumental music.

Mixed Signals II

Fax + Braulio Lam —  Visions

Cloistered Anatomy - Part IV

MRow - Friktionen

Short excerpt from the upcoming album "Neutral Star" by The Pitch & Julia Reidy. LTD LP + Digital, September 22nd on Miasmah.

"The Pitch is a quartet made up of Boris Baltschun, Koen Nutters, Michael Thieke and Morten Joh. Founded in Berlin in 2009, they play a hypnotic form of structured improvisation full of acoustic exploration and electronic intervention. On Neutral Star, The Pitch are joined by Australian guitarist/composer extraordinaire Julia Reidy for a record of star gazing electro-acoustic jazz."

The Pitch & Julia Reidy - Endless ≠ Limitless (Excerpt)

From the upcoming Fiasko! by Kaboom Karavan

June 2024

Kaboom Karavan - How to put valium in a madmans drink

Kom regn

"White Eyes" is taken from "The Burrow", the upcoming duo album by Jasmine Guffond & Erik K Skodvin. Released 30th of October, 2020 on the PATTERN series by Sonic Pieces.

The album also features Merja Kokkonen on voice and comes in a laser cut sleeve.