Name: Der dritte Stand - Umstand by notapplicable
Duration: 5 min 22 s
Description: "Der dritte Stand" is a new trio from Berlin with Matthias Müller on trombone, Matthias Bauer on doublebass and Rudi Fischerlehner on drums and percussion. Their debut album will be out on March 11th, 2022.

Taken from: I Want to Be Clear in Your Sight EP, 2021
Label: Weltschmerz Verlag

I Want to Be Clear in Your Sight

Nobody Likes Hidden Messages

"Der dritte Stand" is a new trio from Berlin with Matthias Müller on trombone, Matthias Bauer on doublebass and Rudi Fischerlehner on drums and percussion. Their debut album will be out on March 11th, 2022.

Der dritte Stand - Umstand

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

Convalescence

Sans Nuances - Alleviate IV

Sometimes so much modern classical and ambient music drives me to a desire to cut it up a bit. Slice all of those expanding pads with a sharp-edged and surgically-precise glitchy blade, which is an intrinsic part of my sonic DNA. With that said, I can always rely on the trusted raster to serve me a delicious cocktail of spiked-up goodness. In the case of their latest album, scheduled to drop this upcoming Friday, November 25th, the master chef, chief surgeon, and dystopian storyteller is the one and only Franck Vigroux, who, albeit has not appeared on these pages in the past, has been on my radar for many years, particularly from his releases on Leaf, Monotype, Aesthetical, and Matière Mémoire. In 2020 Vigroux appeared on this Chemnitz-based (Germany) artistic platform with his album, Ballades Sur Lac Gelé. This follow-up, titled Magnetoscope, is part of the same series of releases that "interrelate strict and cool analogue sounds, drum machines and noise landscapes in an epic, almost cinematic way." The title and the synth sounds which appear throughout the album (and on a piece which I'm premiering for you today) refer to the "terrifying time" of the 80s. The influences of "Blade Runner" as watched through an old VHS tape, the sounds of a warped cassette tape left out to melt in your steaming brick of a car in the parking lot, the unruly analogue music machines that never followed your directions and seemed to have a mind of their own - all of this is here, on Magnetoscope.

Magnetoscope

Paris NYC

TRACK PREMIERE : Franck Vigroux - Paris NYC

Curve Sciolte

Oil Thief - White Car

1967, version 1988
Taken from the album 'Violostries' released as LP and Digital.

Violostries

Bernard Parmegiani 'Capture éphémère' (REGRM 023)

Mats Erlandsson – Minnesmärke - LP
Release date - Nov 6th 2020
Catalogue nr. - HG2008
Format - Vinyl / digital

hallowground.bandcamp.com

Tracklist:
1. Vilja 	(19:08)
2. Slakt	(22.03)

Credits:
Hilary Jeffery - Trombone, Tuba
Gaianeh Pilossian - Violin
Yair Elazar Glotman - Double Bass
Mats Erlandsson - Everything Else
Mastering by Andreas Lupo Lubich
Artwork by Marijn Degenaar

///
Mats Erlandsson makes his debut on the Swiss label Hallow Ground with »Minnesmärke,« at once a nuanced sonic exploration of the industrial and political history of his native Sweden and a deeply personal album. One of the key figures of the Stockholm drone scene, the prolific composer worked with The Kilimanjaro Darkjazz Ensemble’s Hillary Jeffery, violinist and long-time friend Gaianeh Pilossian as well as sound artist and frequent collaborator Yair Elazar Glotman for a two-part composition built around tuned sustained tones performed by electronic and acoustic instruments that were combined with field recordings in order to evoke a psychedelic state of reflection, a dream-like elegy for the acoustic properties of the former iron ore mine Ställbergs Gruva where the music has been conceived and recorded. Following up on releases on labels such as Hallow Ground label mates Kali Malone and Maria W Horn’s XKatedral imprint, »Minnesmärke« is Erlandsson's most accomplished work yet. 
Originally a commissioned work by the Non Existent Center for a month-long artist residency in Ställbergs Gruva last Summer, »Minnesmärke« conceptually picks up on the socio-political and economic history of the Bergslagen region where the mine is situated. After mining operations had been on-going for decades prior, in the Industrial Age iron became one of the country’s largest exports, making the mining industry an integral part of the country’s progression towards a socialdemocratic welfare state in the years after World War II. With the rise of neoliberalism and the simultaneous erosion of the welfare state however, the mines around the region started closing, which resulted in the surrounding community losing its relative prosperity. Erlandsson’s interest in this story though does not exclusively stem from the historical significance of the mine, that has been re-opened in 2012 as a centre for cultural activities and critical thought. In fact, his grandfather was born and raised in the vicinity of it and thus his life - and, by extension, his grandson’s - was inextricably linked to its fate and the ebbs and flows of the industrial development in the area. 
It’s no surprise then that the two parts of »Minnesmärke,« which translates to »memorial« or »monument,« is marked by a sense of dislocation and dissociation. »Working in Ställberg was a somewhat surreal experience from the point of view of a musician some one hundred years later,« says the artist. »Being in that environment makes you view time from the side - since the place remains the same it accentuates the deep chasm that separates my perspective from those of my relatives, while at the same time providing a form of intimacy with them.« This naturally shaped the recording process, which saw Erlandsson create an interaction between the acoustic and the electronic, the human and the machinic as well as the natural environment and the technology that has shaped it as much as it has been shaped by it. A combination of synthetic and recorded sound sources was processed by reamping it in various rooms of the vast mining complex. The resulting hybrid field recordings were transferred to tape and have then been treated extensively. An arrangement for Pilossian’s violin, Jeffery’s tuba and trombone playing as well as Glotman’s parts on double bass were recorded separately and similarly manipulated to create an expanded chamber ensemble with a wider range and an ability to transcend the usual temporal bounds of the instruments.

MATS ERLANDSSON - Vilja (edit)(HG2008)

Catatonia

Vladislav Delay - Rakka II
Format: LP/DGTL
Cat.No. CR14
Pre-order: http://bit.ly/3dLkry3

In 2020 Cosmo Rhythmatic released ‘Rakka,’ which presented Sasu Ripatti’s glorious return to his most famous alias: Vladislav Delay. Nonetheless, the album contents made it evident that this eventual comeback was not intended as a revival. Ripatti was reactivating the project and a steadfast evolution in its sound, a new approach to both the emotional and environmental characteristics of electronic composition.

The inspiration for this new course was given to Ripatti by a series of ventures into the wilderness of his native Finland, confronting “The raw, undefined, uncontrolled and uncorrupted power that exists within it.” The result is a hyperbolic, extreme ecosystem of sound populated by fast-moving drones, dense clouds on noise, and tectonic bass rumbles with hints of harmony birthed by harsh tonal contrasts. The sheer intensity of the music was only matched by the rigor of its craft.

2021 sees the coming of the second chapter in that very same journey. ‘Rakka II,’ once more on Cosmo Rhythmatic and made of that very same impassioned matter. Tho while on the first one, Ripatti seemed intent to portray the elemental forces as free, unabashed, and unconstrained by musical structures, here he appears to compile some of it in beats and progressions that have something in common with the wildest sides of dance music. It’s like consciousness tuning in with the non-human after struggling with its apparent distance and hostility, accepting its uncoded structures, and finally finding a common language for reconciliation.

As Ripatti puts it, Rakka II is a romantic summer vision full of hope and optimism;  after the brutalist vibes on the first one, the storm has passed and skies are clearing. 
Rakka II is ultimately another masterful achievement in an already stellar career and an unquiet blast of energy for chaotic times.

Der dritte Stand - Umstand

notapplicable

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