ASMR:Relaxing

12/21

Lend Me Your Radio - Nov 21

"Extans mantra is a collection wild soundscapes, spacey ambiances and psychedelic frequencies to get lost in time and space"

004 flows from an open heart, unearthing new and unfounded energies that have yet to be explored. This tale begins with 'อากาศ' as it reinstills the extans vibration through the poetic words of local Thai artist Tulwai. Already awakened to an array of sound, outsized melodies of emotionally driven segments are felt from 'Dakini' through to 'Shin (Subject to space)' and 'Circa Forever'. A final regression culminates in 'Silom'.

Tape Mastering by Abhi Meer.

Extans Mantra (環境) Vol. 4 (SNIPPETS)

The Jazz Butcher – Time

My hair’s all wrong. My time ain’t long.
Fishy go to heaven, get along, get along.

I’m having too much fun to get anything done.
Leave me be. I’m not hurting anyone.
I took a long weekend in the psychedelic shack
And when you cross that bridge you ain’t never coming back.
I‘ve got scars and stripes and burns,
I‘ve got the law of diminishing returns.
I‘ve got a one-way ticket to a pit of Council lime
I’ve barely got a minute till I’m in it
But for you I’ve got time.
A little bit of time.

Luminous. Leguminous. Salubrious. Lugubrious.

Time’s running out. The money’s running out.
You don’t need me to tell you what it’s all about.
Time’s running out. The money’s running out.
Oh, baby!

A small boy who just watched his cousin being shot
Is being pushed down a mine coz we’ve got to have the lithium.
Forced labour, privatised jails.
Yeah – and all that that entails.
Tik tok. Never mind. You’re gonna live forever.
Yeah – in a razor wire dormitory,
Working on the long shift, doing what you’re told to,
Doing what you’re told to, 
Doing what we used to call time.
(It’s murder.)

Respectable. Bespectacled. Electable. Detestable.

Time’s running out. The money’s running out.
You don’t need me to tell you what it’s all about.
Time’s running out. The money’s running out.
Oh, baby!

I’ve overdone the underside and now I am undone.
There’s no one here to see, though, cos I don’t see anyone.
And if I hadn’t told you that, you never would have known,
Unless I told you secretly when we were all alone.
Things are running slow. Things are running low.
You can have one more but then we gotta go.
One more before the bottle. One more before the mast.
One more shot for Davy Jones, better make it fast.

Time’s running out. The money’s running out.
You don’t need me to tell you what it’s all about.
Time’s running out. The money’s running out.
Oh, baby!

The Jazz Butcher – Time

6G is the child of a hollow moon, unwritten histories of permaculture deities in the levant, pagan conspiracies about haunted birthrights, texts buried in lunatic obscurity, communication with the evil smile of a goddess, bells designed to be wrung three times in the night, childish blood games, farmers with occult crops.

The duo of Oxhy and Susu Laroche have chosen the name The Fertile Crescent, evoking one of the cradles of human civilization as much as a (un)healthy devotion to the power of the lunar cycle. Musically, it reeks of post-industrial folklore ripe with solemn tones and conflicting bits, combined via the mocking dream logic of a trickster spirit. A skeletal presence of melody in a sparse, ceremonial ambiance that can even welcome thunderous rolls of breakbeat, like tapping from the energy of every ritual that has scarred the land in time. Following the record is like attempting at drawing a psychic topography of those same rituals, manifestations, tragedies and games, it’s like mistaking the broadband network for the Ley lines but still succeeding in conquering its occult power.

Written & Produced by Fertile Crescent
Mastered by Tapewave

All profits go to: www.islamic-relief.org.uk/afghanistan-emergency-appeal/


https://soundcloud.com/oxhy
https://soundcloud.com/tsvsvnami

the fertile crescent - cant let you live again

Mana

Gleam

READ > https://inverted-audio.com/premiere-nali-chance-encounters/

Over five years in the game have taught Berlin collective @PatternsofPerception a lot about what makes people dance, and they're now putting it into practice with their newly launched label, starting with a solid four track block of dance jams from Melbourne-based producer @n_a_li entitled 'Chance Encounters' EP.

Chance Encounters

Nali - Chance Encounters [Patterns of Perception]

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

The Green Kingdom - Audioloom 1
Maps and Diagrams - Streams

Pre-order now available: https://handstitched.bandcamp.com/album/audioloom-1-streams

Handstitched* (HS40/40T)
Release date: December 2021

The new Handstitched* series of evolving limited-edition issues are released on both mini CD and C45 cassette and will focus on two artists with a total of 22 minutes per artist, one CD and one-half of a C45 cassette per artist - limited to 50 copies per release. Each of the formats have hand-crafted packaging, unique, hand-printed covers for the CD and hand-made cassette sleeves for the pro-dubbed tapes.

After many years of amazing releases, and many moments spent admiring and listening to The Green Kingdom's musical adventures, Handstitched* is happy to announce a new release as part of the new limited-edition split artist format by The Green Kingdom and Maps and Diagrams.

Michael Cottone is a graphic designer and sound artist based in Michigan and presents to us "Audioloom 1", which will hopefully become a series of works over time. Michael creates an audio collage from disparate sources, samples, synths as well as acoustic and electric guitar. The "Audioloom" story is intended to create a musical narrative. We are over-the-moon to be releasing these new pieces by The Green Kingdom, who has previously released music via these well-respected imprints; Dronarivm, Past Inside the Present, Sound in Silence, Hidden Vibes, Lost Tribe Sound, Tench and Nomadic Kids Republic, to name but a few. 

Maps and Diagrams, appears on the "B" side of the split artist release with The Green Kingdom; with four tracks making-up "Streams" - focusing on a tonal and minimal edge that brings moments of the past year together, like a musical sketchbook where we can reflect as we slowly move forward. 

Thanks for listening x

Audioloom1 - Streams - S4mpl3r

Fragments IV: Collected Waves from Surrogate Memories

Ada's Chant (From Fragments IV)

This is a mixed down composite version of Browser Music 1. 

The individual parts and instructions for playing them are as follows:

Open each link below in its own web browser tab or window and press play on each. 

Part One: youtu.be/O7K1iG0TsHo
Part Two: youtu.be/wIK1krtrErM
Part Three: youtu.be/8GNHtoh3Q58
Part Four: youtu.be/Pv_X8e8cgJs 

The four parts are meant to play at the same time but don’t have to start together. You can stop / re-start individual parts and change their respective volumes as you wish. Like the components of a mobile sculpture, each part can be considered on its own or in any combination. 

This is music without development, where nothing much happens (or rather: the happening is evenly distributed throughout). This is also quiet music – perfect for playing in the background on your web browser while you are doing something else on your computer. You can even listen to other music / watch other videos / make Zoom calls, etc. while playing Browser Music in the background.

Support here: https://andrewpekler.bandcamp.com/track/browser-music-1

Bandcamp

Browser Music 1

✧Sea Urchin✧ are

Leila Hassan: spoken words, lights & textiles
Francesco Cavaliere: music, words & lights

Counting for the next tide. side a ✧ Sea Urchin ✧ c.20

sleep in nothingness, 2018 

// sounds heard 
samples from the Guimet's archival LP copy of 'Japanese masterpieces for the shakuhachi' (Lyrichord_MX4205_1989) 
+ artists own field recording of train ride in the monastic region of Koyasan Japan, clarinet, sine tones, voice, amplified objects, sferics, and a google-translate/text-to-speech recording of the album liner notes. // 

In a dream he found himself floating in a boat. Suddenly thick mist rolled down the sky and blocked his view of the moon. On hearing the moving melody of a flute, he reached out for his favourite bamboo flute to accompany the ethereal melody. The music is long and simple, and the listener is expected to forget everything and "sleep in nothingness".
-the dream of a priest named Kyochiku in the 12th Century while meditating at a temple in Nara (as cited in the album liner notes).

composed for performance at the Guimet Museum in Paris on Feb 03 2018, curated by the French label Tsuku Boshi.

sleep in nothingness

Plants are not plants, but plastic, plastic is not plastic, but form. They do not presuppose a static structure, but generate structure as a result. One vegetable body opens onto another, one articulation gives way to another, entering a transformational metamorphosis which is pulverized into myriad of forms. Plants are erratic geometrical and material sorcerers. They lure gradually and with perseverance, making biosphere the playground for a multiple combination of interchangeable shapes, patterns and models. There is a sensuous, almost sexually bewitchment of form on which green plasticities reside to define life till its most microscopic folds. Cruel viscosities unseal themselves, and the delicate filth of chlorophyllic matter unfurls, causing structures to pollinate. A light bow of a stalk meets the tense muscle of a lower peduncle and inflorescence turns into excess.

Browser Music 1

Andrew Pekler