Simulacrum Remixed

Blind Power (Exzald S Remix)

Intro (MBODJ Remix)

Full stream of KMRU's remix of "Outro," taken from Aho Ssan's LP Simulacrum Remixed on Subtext, out October 15.

Pre-order: https://ahossan.bandcamp.com/album/simulacrum-remixed
More: www.orbmag.com/music/

@ahossan
@kamarujoseph
@subtext-recordings

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Premiere: Aho Ssan - Outro (ft. The Mensah Imaginary Band) - KMRU Remix

A sunken cathedral is exactingly excavated by Tokyo-based Joe Fujinoki on his debut album "Watering The Steel Flowers". Glittering shards of glass and metal drifting on deep ocean currents cast vague illuminations upon eroding concrete structures. An occasional glimpse of sunlight filters through the depths, suspended by bubbling hydrothermal vents. Fujinoki creates a series of gestures blurring texture and rhythm, an analog balm for the colloid of post-industrial aches.

Joe Fujinoki is a Tokyo-based musician and synthesist.

WATERING THE STEEL FLOWERS

PURCHASE PHYSICAL COPY

ENXPL11 - JOE FUJINOKI - A5. LESS LIGHT

Driller 1

Far from static clouds and close to the moving beam in pursuit as an overflowing blue wave and a star beneath, appearing along with the moon.

Text by FH HF.

Anasisana - Infinite Horizon

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Ghostly Atmosphere

spit of smell

It makes less sense to say that Maths Balance Volumes formed in 2002 than to say that, since that year, they have been collapsing into something, again and again. Just as the three members fell together with no plan or allegiance to any style or genre, each track falls together as the broken pieces of songs and sounds meet to make a temporary and frightening whole. Things make their way into a Maths Balance Volumes song when they don’t or won’t work anymore, when they have escaped their owner, or hidden away where nobody is supposed to find them. When things fall together—when the wooden creaks and radio hisses gather for a minute alongside bass lines and melancholy voice—there is a beauty that sounds like it was made by nobody and for nobody.

The city of Mankato, Minnesota has been the steady gathering point for the band since its beginnings. Mankato had always provided an ominous backdrop: built on stolen Dakota land, the city was the site of the largest mass execution in US history, when 38 Dakota prisoners were hanged on in 1862 in a straightforward act of genocide. But in their music of the past twelve years, Maths Balance Volumes has made music in and of a hometown overshadowed and unsettled by its history, music for a world in which things have never been okay. Traditional American folk genres seep in at times, but never as the incarnation of a living popular culture—only as ghosts or unliving effigies.

A Year Closer tells us already in its title what its theme is: approaching death, time ticking away and getting closer with each track of the record. We are told in the first song that our protective mask isn’t working, warned by the storm clouds and a ticking bedroom clock in “Dark Skies.” We hear fears of death approaching in the sad words exchanged by lovers who see they will run out of time, or already have, as in “We Had Time” or the romantic lament of “When I Drink.” In “Work Last Monday,” all of life passes with cold automatism in an “office apartment,” as a narrator broods over early onset dementia, remembers the details of rituals for respecting the dead, and thinks of how a hole is opening up in reality itself. The singer of “Over the Hill” isn’t apparently afraid of growing older and becoming a “man,” but only leaks a few disjointed details of his plans for disappearing, collapsing, turning into a tree, and finding a home. “Angel of Mercy” tries to resurrect the Christian promise of a life after death, anxiously asking if anyone is up there waiting for us after the oblivion of this world. 

But these are just the moments when A Year Closer speaks in words clear and audible enough to be understood. The giddy, agitated voice of “The Price” speaks only to itself in a private language, hidden away in a tin can somewhere. Musically, A Year Closer is a series of pieces that make symphonies out of separate processes of decay and disappearance: unidentified cracking and creaking objects, broken equipment, and lost melodies that seem to have escaped other songs and wandered into the room looking for a place to hide. These are the moments that the listener of Maths Balance Volumes always knows are coming, waits for, and settles in temporarily for a moment of repose. Maybe this is the meaning of A Year Closer: while waiting for the worst, things come together, a “we” with no name but with a rhythm, a tenuous but definite harmony to share as the clock ticks. Even if, when the lights are turned on, it turns out nobody was there. - Paul Buchholz

Taken from PP48 A Year Closer LP coming soon

A Year Closer

Purchase

Maths Balance Volumes - Dark Sky

https://soundcloud.com/muzaneditions

https://muzaneditions.bandcamp.com/album/the-sound-of-mountains

Dream on the Retina - yolabmi (from The Sound of Mountains)

All music by Anaïs Tuerlinckx - piano and synth.
Record at Le Delta - Namur - Belgium in January 2020.

No overdubs, no edits.
Recorded and mixed by Frédéric Alstadt - Angström Brussels.

Out: Friday April 9
Pre-order: https://vlekrecords.bandcamp.com/

Explorations from within the frame of a broken piano. 

Rubbing and tickling strings - with drone-based undercurrents in leviathanic apparitions; squeals of insects,-  molluscs and intriguing shells; underwater singing and moaning - the work of Belgian musician and performer Anaïs Tuerlinckx entangles us into a captivating constellation of sound, full of roaring tensions, squeaky flashes and the occasional deep, resounding backwash wave.
Four pieces recorded in one afternoon at the Delta in Namur.

Steel breaker waves collapse into a seemingly endless rebounding fall, straight into the bowels of the earth or hell. It is a totally absorbing acoustic approach supported on certain tracks by a bass amp and a monotron synthesizer and a bewildering and fantastically anguishing dynamic richness.

Ending the record with the "false" lull of "Exploration finale d’un corps abîmé" resonating like the last trace of the fall, a sort of end of the total collapse surrounded by various scattered sounds, before the pipe organs of the abyss resonate with the surviving strings remaining from this wonderfully mistreated piano.

A 40 minutes long record by Anaïs Tuerlinckx, the perfect insight into her dense sound universe.

(Liner notes by Sixto)

//

Our encounter with Anaïs was not "at the end of the world" but was one of the most unusual we ever had. It concerns mail, trains and an old piano.

David met Anaïs on a train, during a journey back from Milano. At the Köln station, he had to change platforms and when he was about to jump on the train, David helped a mother put her child's pram on the train.
He sat a few seats from them.

After hours of listening to music on his headphones, he took a break. The wagon was quiet.
While looking out of the window, he heard the child asking about mom’s next day’s schedule. The mom mentioned a trip to her grandparents to be able to go to the studio and record some music.
A little light switched on in my head.

Two minutes before arriving at the Brussels Nord station, David took his courage in both hands and asked her what music she was doing and told her that he was co-running a label.
Anaïs told him she improvises and plays prepared piano. They exchanged emails.

Quite fast, she sent them tracks but they couldn’t find something they all agreed on. A few months later, they received a letter from her, like in the good old days.
The letter was accompanied not by an old cassette but by a USB  containing new pieces of music.
They listened to it many many times and discussed a lot but unfortunately, once again, they didn’t find a selection in order to make everyone happy.

One day, Thomas proposed a residency at Le Delta, in Namur. He found her an old piano that she could treat the way she wanted and on which she could work on some new material for 3 days.

The piano’s body had been stored outside for months, but the beast was not dead yet and was appropriate to exhaust it ‘till it’s core.
This album is a selection of Anaïs’ work during her residency in Le Delta. No edits, no overdub. 40 minutes of pure improvisation.

Note: even after the residency, the piano was still breathing and its strings will be used to print the sleeve’s artwork.

[vlek34] - Anais Tuerlinckx -  Pulsations métalliques sur cordes sâles

Fusing music, art, culture, and technology.

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Premiere: Aho Ssan - Outro (ft. The Mensah Imaginary Band) - KMRU Remix

Orb Mag

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