i just lost some playlists

ethereal mix 008: kolya

@djkolyas / @ne-sm

ethereal mix 008: kolya

Composed during a whirlwind period of touring and sound engineering in 2019, 𝑂𝑛𝑙𝑦 functions as both a tranquil refuge and as a heartfelt appreciation for the source instruments' timbres. Berlin-based Bridget Ferrill crystallizes her professional recording experience and artist residencies into a singular focus on Buchla modular, harp, zither, and viola da gamba. Rather than an exercise in technical mastery, Ferrill's careful arrangements invite us to linger with each instrument; in her words, fulfilling the longing to "listen a little longer, a little slower". Every contour of the instruments is lovingly traced, a warm invite for us to join her in the exuberance of exploring their inner life.

---

Bridget Ferrill (USA/DE) is a producer and composer of electronic music whose work plays between pattern and noise, exploring augmented instruments, handmade electronics, and experimental computer music. She has participated in residencies at EMS in Stockholm, LungA in Iceland, and the Dirt Palace in Providence, Rhode Island. Recent projects include composing for Staatstheater Cottbus, engineering and performing electronics for Bendik Giske’s live show, designing the Anglerfish drone synthesizer for Common Ground, and creating multimedia installations with composer Áslaug Magnúsdóttir.

Ferrill is also a live and studio engineer with experience working in studios and venues such as Greenhouse Studios in Reykjavik, Machines with Magnets in Providence RI, and at Real Surreal, her own mixing and mastering studio in Berlin.

Only

Bridget Ferrill - Viola da Gamba (ENXPL10)

From 'Relics'
Due on vinyl end of Q1 2022
Digital available now at Boomkat.com

I Dream of You

Christos Chondropoulos - I Dream Of You [RAVE 036]

Excerpt from S8 Sean McCann "The River Witch" C60

Sean McCann "The River Witch" excerpt

USUSUSESESERERER

++++++++++++++++

GAN fantasy

'In Defense' from D003 compilation released by Doyenne.

D003 arrives as a split between four experimental sound artists from London/LA, Philadelphia, Krakow, and Portland/Berlin.

Available on Bandcamp now:
https://doyenne-books.bandcamp.com/album/doyenne-003-felisha-ledesma-martyna-basta-lucy-liyou-ekaterina-bazhenova-yamasaki

In Defense

From Boli Group "N.P.D.S" LP/DL 
Posh Isolation 208 
Out May 4th, 2018

"Via negativa, not a collection of skills but an eradication of (mental) blocks
Meme sonate, winter sun fails but 'spirits bright'
Matiné meditation
A picture of fresh moringa leaves
The sound of NSA listening in on your most intimate moments.
Early 21st Century Music”

Boli Group is a new ensemble spearheaded by Copenhagen based composer and producer Asger Hartvig. Responsible for some of the most fearless and intriguing works to come from the city in recent years, Hartvig is as imposing as he is mysterious, and his debut release for Posh Isolation makes no concessions.

Hartvig is perhaps best known for his work with the group Synd Og Skam. And though less known, Brynje 1&2 is just as exceptional. Taking both technology and classicism as allegories, each group charts routes in and out of pop music, somehow arriving at an observer's distance to the distinct stylistic choices in the process. The label Visage has published the best of this, and the logic has certainly been carried into 'Boli Group LP,' the latest offering from Hartvig and his distinguished ensemble of Nina Cristante, Holger Hartvig, Thea Thorborg, and Cæcilie Trier.

There is a nearly unendurable fragility to 'Boli Group LP.' It's as if Hartvig has let the complexities of his themes stand in mourning; his narrator taking a moment to themselves behind sunglasses, exhausted for the rose-tinted lens of the prepared script. The album is willingly dramatic, though it never plateaus into melancholia. Hartvig pirouettes at the edge with the sorrowful string arrangements and the pristine timbre of the piano, the immediacy of the acoustics always binding the listener tightly to the risk. Pastoral and meditative, the electronics don't tamper with the delicate fabric being woven. They always register as supportive and understated. The synthetic hum, occasionally yielding a doleful melody as it does, manages to imbue a naiveté to this contemporary and subtly idiosyncratic chamber music.

Though the track titles lead us on, in time the examination the album provokes is that of the tension in transparency. The album's secret, barely kept through the minimalism, is its distinct folk noir quality in holding it.

"boli group creating new chamber folklore embracing the playing of instruments, not the played, but that which is playing for the sake of future focus and edit into the very minerals of instrument, intuition, emotion, fragility underlying, the warning, always pulsating acts of drama, wet leaves, asphalt, pan to right, agriculture and electricity poles a container ship, lonely in horizon hoping for a clear thought, but everything existing as conspiracy the sound of a search, uncertain and always asking, for certainty is false, showing sceneries changing permanently and forever narrating, like a panorama of grey clouds, keeping humidity levels high, heating up before the release of water and lightning investigation for folk instruments. What are their songs and where will they go, over time, woven together like a piece of fabric created to stand against the lethal winds”

A1. Overture 04:36
A2. How To Play 03:12
A3. Monsanto Folk Song 02:46
A4. Toxica 03:15
A5. Moringa 03:15
A6. Garden Picture 02:28

B1. Tension In Three Stages (Drama) 06:28
B2. Tension In Three Stages (Country) 03:18
B3. Tension In Three Stages (Nautic) 05:39
B4. Summit 01:35

Posh Isolation 208

04 05 2018

Boli Group - Toxica

i wrote this when i was 17. old recording. sad and sweet. i wrote this about an experience that happened to me when I was 17; i was sexually assaulted by a stranger. this was my response. still, i need to remember this is the only response.

It wasn't me

Summer Cannibals "Can't Tell Me No" Out Summer 2019 on Tiny Engines

Can't Tell Me No

Summer Cannibals - Like I Used To

Summer Cannibals - Behave

Summer Cannibals - Can't Tell Me No

Premiere of the title track You, Only to be released on the Vaagner Summer Batch, July 1st 2019.

You, Only is a beguiling insight into the world of Turkish musician Ekin Üzeltüzenci and her debut release on Vaknar. 
The album features a series of musical tapestries which prominently include live instrumentation in tandem with Ekin’s own voice, all of which has been fed through a series of tape delays, giving the final outcome a brittle and reflective tone.

Track List:

A1 Ekin Fil - Hope
A2 Ekin Fil - Other, Others
A3 Ekin Fil - You, Only
A4 Ekin Fil - Arise
B1 Ekin Fil - Scar
B2 Ekin Fil - Incident Light

About Ekin Fil:

After a stint of initial tape only albums which included the aforementioned 'Heavy', Ekin Fil went on the produce 4 albums for the Helen Scarsdale Agency. She was awarded "Best Original Film Music" for her first Soundtrack "Kaygi" at SIYAD, 2017 and "Best Film Music" for the Soundtrack of "Korfez - The Gulf" at Türkisches Film Festival in Frankfurt, 2018.
This year she released an LP of separate songs titled KOMA on the Stockholm based imprint Possible Motive.

https://soundcloud.com/vaagner
https://soundcloud.com/ekin-fil

Premiere: Ekin Fil - You, Only [Vaknar]

Premiere of Rune Bagge - Salvation (feat. Iron Sight, out on NFR WHITE SERIES the 24th of June 2019.

Track list:
1. Eloim - La Balançoire
2. Asmorod - A Boy My Daddy Drowned
3. Maŕa - But I
4. Daniel Araya - Dying Bird (Dub)
5. Tullia Benedicta - Onde Del Mare
6. Appropriate Savagery - Emeralds, Rubies & Roses
7. Rune Bagge & Iron Sight - Salvation
8. Thorm - Mire 2.0

Nocturnal Frequencies White Series is a selection of evocative techno primarily heeding its metaphorical significance. All tracks are, in one way or another, in relation to landscape music. The key is the ambiance. Ambient music surely constitutes the essence of landscape music. This compilation is made of successive landscapes: from the sweetest to the hardest, from the darkest to the brightest, from the lightest to the most oppressive one. This is a journey to listen to in one go and thus, in the midst of each of these sound landscapes, the presence of a vague human shape shall be felt.

https://soundcloud.com/nfrwhite
https://soundcloud.com/nocturnal-frequencies-2016
https://soundcloud.com/runebaggecph
https://soundcloud.com/isak-hansen-213823504

Premiere: Rune Bagge & Iron Sight - Salvation [Nocturnal Frequencies]

Jenna Sutela - nimiia vibié
Format: LP / Digital
Cat.No: PAN 104
Release Date: 09 August 2019
Purchase: bit.ly/2MPpaSa / https://bit.ly/2KpeKHi

Aspiring to connect with a world beyond our consciousness and our planet, nimiia vibié sounds the interactions between a neural network, audio recordings of early Martian language, and microscopic footage of extremophilic space bacteria. Here, the computer is a medium, channeling messages from entities that usually cannot speak. However, it is also an alien of our creation.

Drawing on nimiia cétiï, Jenna Sutela's project on machine learning and interspecies communication, the record manifests a more-than-human language. This language is based on the computer's interpretation of a Martian tongue from the late 1800s, originally channeled by the French medium Hélène Smith and now voiced by Sutela, as well as the movement of Bacillus subtilis, an extreme loving bacterium that, according to recent spaceflight experimentation, can survive on Mars. The bacterium is also present in nattō, or fermented soybeans, a probiotic food considered as a secret to long life. Beyond Bacterial-Martian culture, or Martian gut bacteria, the project attempts to express the nonhuman condition of computers that work as our interlocutors and infrastructure. 

Jenna Sutela works with words, sounds, and other living materials. Her audiovisual pieces, sculptures, and performances seek to identify and react to precarious social and material moments, often in relation to technology. Sutela's work has been presented at museums and art contexts internationally, including Guggenheim Bilbao, Museum of Contemporary Art Tokyo, and Serpentine Galleries. She is a Visiting Artist at The MIT Center for Art, Science & Technology (CAST) in 2019-20. 

The project originates in n-dimensions, Google Arts & Culture's artist-in-residence program at Somerset House Studios. Machine learning in collaboration with Memo Akten and Damien Henry. Miako Klein in the contrabass recorder and Shin-Joo Morgantini in the flute, with sound production by Ville Haimala. The album is mastered by Rashad Becker at d+m, Berlin.

nimiia vibié 

Jenna Sutela - nimiia vibié I (PAN 104)

From 'Anomi', to be released 30th of October 2020

Anomi

Sonja Tofik - All Errors Are Mine

Food, sex, glory to God; in which order? Do you first eat, and then pray to thank Them? Or perhaps coupling takes the top spot for you. 

Each of these three fundamentals is about service. What is your way of serving others while you’re in this world? And will we keep doing it ever after? In heaven—if we’ll make it there—will W serve us their mass of resonating frequencies and clipping digital ornaments? 

A new release by W is here to go alongside our feasts, orgies, and other acts of devotion. Yes, it’s suited for all kinds of services. You must try it on fried fish, living bodies, or celestial ones. 

From right to left and back again from left to right; W spins the middle frequencies into a ritual that helps us to forget ourselves. For a while, heaven and earth exist on the horizon, instead of the vertical. 

The sonic horizon reminds us of the beauty of the plain from which nothing arises to compete with God. What's more, the panning offers an exercise in humility: everything is around you, but you’re not the center. 

The distorting of those sweet basslines tells you that what you’re hearing is growth and rot, crop and compost, both at the same instance. The distortion invites you to go medieval—think Ars moriendi, the art of dying. Learn from these sounds by reflecting on how they’re ready—but not willing—to leave this plane at any moment. 

The sounds that make up Maanpinna follow neither a linear understanding of time, nor a hierarchical understanding of bodies, but an instantaneous one of both. You could call it quantum music, but then why would you do so when you can call it a service? 

Of the three acts of services mentioned, sex and God demand the most trust. Can you trust these sounds? You could learn to do so by listening to them on repeat. No: forget the idea of being able to know music, forget beginnings and ends; try living with these sounds forever, always unearthing new aspects. 

Commit to the sounds, because why else would they trust you? Touch the wobbly melodies and feel them touching you like nothing has ever done before. 

Apart from the sea of sine waves, Maanpinna sometimes gives you bursts, pops, and washes of filtered white noise. They are gestures of good faith made by the music itself towards you. If you didn't trust the sounds before, perhaps now you will. 

Those bursts are not pure noise, but cut down to a serving size by W. The modified noise tells you what the dead always tell the living: ‘What I am, you will become.’ The art, in life and audio, is in learning to lose. It’s a lesson that reverberates deep in the bare soundscape of Maanpinna. 

It is music made from very few elements. And while reduction has always formed the basis for aural worship, on the hands of W, sounds are never reduced to the level of blasphemy: there's always the noise and the distortion. 

- Kaino Wennerstrand 

Produced by Eero Pulkkinen (@susiovet). 
Vocals in 'Half-Mast' by Elatu Nessa.
Mastering by Jaakko Viitalähde. 
Artwork by Carmine Laurenza. 
AFN005 - A Flooded Need, 2021.

Maanpinna

W - Half-Mast

Label based in Berlin, est. 2008. http://www.p-a-n.org

Jenna Sutela - nimiia vibié I (PAN 104)

PAN

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