Ulla - 'Limitless Frame'
Format: Vinyl / Digital
 Release Date: May 10, 2021
Distribution: Rubadub 
Cover photo: Sasha Zakharenko

Being somewhere, while being somewhere else
A place I look for in other places
A moment on repeat
I made this music as a way to hug myself

All music performed and written by Ulla E. Straus

https://soundcloud.com/ullastraus

Pre-order:

https://motionward.bandcamp.com/album/ulla-limitless-frame
https://www.rubadub.co.uk/records/catalog/product/view/id/13471/s/limitless-frame/
https://boomkat.com/products/limitless-frame

MW009: Ulla, 'Limitless Frame'

Artist:Ｊ
Title: "my seat and weep"
Cat: deis, 8 (LP), deis, 8.1 (CD)
Format: LP, CD, Digital
Artwork by Angelina Nonaj, Hanne Boulanger
Mastered by Shy (3XL)

Preorder:
https://daisart.bandcamp.com/album/my-seat-and-weep
https://rubadub.co.uk/products/my-seat-and-weep
https://boomkat.com/products/my-seat-and-weep

Distribution by Rubadub

my seat and weep

Bandcamp link

'my seat and weep' by J (preview)

This is a mixed down composite version of Browser Music 4.

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. 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.

Part One:
youtu.be/4fE2awB7_d0

Part Two:
youtu.be/kT9ZastGvqE

Part Three:
youtu.be/Hzd_ydrGCqE

Part Four:
youtu.be/EpPkit3i8Vg


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.

Bandcamp

Browser Music 4

Extract from 'Image Langage' (SP140)
Out June, 24th 2022 on 2xLPs, CD, digital download.

Order: https://feliciaatkinson.bandcamp.com/album/image-langage

—
Opening the window, I look at the light, it connects me to something more vast.

Felicia Atkinson’s music always puts the listener somewhere in particular. There are two categories of place that are important to Image Language: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record—Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy—the landscape is what is waiting for you when you leave the house, and vice-versa. Each threatens—or is it offers, kindly, even promises?—to dissolve the other. Recognizing the normalization of home studios these days, she revisited twentieth-century women artists who variously chose, and were chosen by, their homes as a place to work: the desert retreats of Agnes Martin and Georgia O’Keefe, the life and death of Sylvia Plath. Building a record is like building a house: a structure in which one can encounter oneself, each room a song with its own function in the project of everyday life.

At times listening to Image Language is immediate, something like visiting a house by the sea, sharing the same ground, being invited to witness Atkinson’s acts of seeing, hearing, and reading in a sonic double of the places they occurred. In an aching moment of clarity in “The Lake is Speaking,” a pair of voices emerge out of the primordial murk of piano and organ, accompanying the listener to the edge of a reflective pool that makes a mirror of the cosmos. “I open my feet to fresh dirt, and the wet grass. I hold your hand. You hold his hand. In the distance without any distance. The comets, the stars.” At other times, listening to Image Language is more like being in a theater, the composition a tangle of flickering forms and media that illuminate as best they can the darkness from which we experience it. On “Pieces of Sylvia,” a noirish orchestra drones and clatters beneath and around a montage of vocal images, stretching the listener across time, space, subjectivities. Atkinson says that Image Language is like the fake title of a fake Godard film. There is indeed something cinematic about Atkinson’s work—not cinematic in the sense that it sounds like the score for someone else’s film, but cinematic in the sense that it produces its own images and language and narratives, a kind of deliberate, dimensional world-building in sound.

Image Language is built from instruments recorded as if field recordings, sound-images of instruments conjured from a keyboard, instruments Atkinson treats like characters, what she calls “a fantasy of an orchestra that doesn’t exist.” And then, speaking of Godard, there are the monologues, operating as both experimental-cinematic device and a literary style of narration. Voice can be a writerly anchor or a wisp of a textural presence. Atkinson’s capacious and slippery speech plunges into and out of the compositional depths, shifting shapes, channeling the voices of any number of beings, subjectivities, or elements of her surroundings—not unlike her midi keyboard, able to speak as a vast array of instruments.

Image Language is an environmental record, in the vastest sense of the world. It is about getting lost in places imagined and real; it registers, too, the dizzying feeling of moving between such sites. It puts forth a concept of self that is hopelessly entangled with the rest of the world, born of both the ache of distance and the warmth of proximity.

— Thea Ballard, 02.2022

Image Language

Becoming a stone

FELICIA ATKINSON 'Becoming a Stone' (SP140)

Flow | 流れ  coming february 10th 2023 through Aguirre Records
PRE-ORDER digital here: https://dedren.bandcamp.com/album/flow
12" Vinyl available here: https://www.aguirrerecords.com/collections/aguirre-records/products/david-edren-h-takahashi-flow-lp

Music By H.Takahashi and David Edren.
 Recorded 2020-2021 Tokyo|Antwerp.
 Mixed & Edited by David Edren at LittleForest, Antwerp. 
Mastered and cut by Anne Taegert at Dubplates & Mastering. 
Artwork by Vica Pacheco | Sleeve Design by Yudai Osawa.

Flow | 流れ

David Edren & H.Takahashi - Shift Register | シフトレジスタ

Artist: Roméo Poirier
Title: Living Room
Cat#: faitiche 28
Release: Oct 7th 2022
Format: LP/DL

Living Room (faitiche 28) is the third solo album by Roméo Poirier and, following his much praised Hotel Nota, his debut for Faitiche. The French musician and producer transforms the layering of different times into a free-flowing pulse that sounds both nostalgic and mysteriously ahistorical.

Poirier takes music seriously as a time-based art – not just in the sense of duration, but also in the way time is refracted into autobiographical experience, historical dimensions and stages of evolution. By immersing and reflecting himself in these different layers, he creates a succession of new balances between various tempos, iterations and developments. 

Poirier’s music emerges from a continual questioning and reformulation of his own oeuvre and thus of his own past, drawing on an ever-expanding archive of self-recorded loops. “I always resample myself, using fragments of a track to make a new one, as an ongoing process,” he explains: “The sound is evolving with me in parallel and the loops carry in their DNA all transformational stages, filled with previous tracks, sedimented.”

Originally a drummer, Poirier connects his various sources almost without a clearly identifiable beat. He prefers an organic pulse, mutable like the human sense of time and its fluidity. The aquatic feel of certain tracks on Living Room is no coincidence: among other devices, he uses a waterproof loudspeaker and a hydrophone to play back and rerecord tracks in the bathtub.

Drawing on a sample collection assembled by his father, also a musician, the human voice enters Poirier’s music for the first time. But it remains free of overly unambiguous signifiers. Besides its link to time, the fascinating thing about music is that it has meaning without needing to be decoded. Living Room goes back to the private but universal origin of human experience: “I liked the idea that a possible quest for a musician could be echoing the first encounter we had with language, in a prenatal state: its prosody, melody and tones, without being cluttered with meaning.”


Written and produced by Roméo Poirier
Design by Tim Tetzner
Mastering by Giuseppe Ielasi
Text (back cover) by Lamiral Poirier
Thanks to Jan Jelinek, Tim Tetzner, Anna De Smet, Lamiral Poirier, Sylviane Poirier, Octave Moritz, Will Boyd, Guy Tournay, Antoine Pasqualini, Fabien Leclerc, Rutger De Brabander, Frans Robert, Anna Wery, Vittorie Degli Innocenti, Lucas Kraft, Léna Burger, Christophe Le Poëc, Augustin Gigleux, Daphné Vagegne, Jonathan Soskin

Roméo Poirier: Muscle de sable - Jan Jelinek Remix (remixed by Roméo Poirier)

Echo's Disintegration

HYMN *4 empty club*

Alliyah Enyo - HYMN *4 empty club*

From the forthcoming album SG - For Lovers Only / Rain Suite (Faitiche 33)

SG - Western Affect

Serge & Mondriaan

https://soundcloud.com/pontiacstreator
+
https://soundcloud.com/ullastraus

out 5 July 2018
12" & Digital >>>
http://westmineral.ltd/releases/chat-ouest097/

~get in the chat~

Chat (OUEST097)

Pontiac Streator & Ulla Straus – A2 Chat Two – Chat EP (OUEST097)

"a distinct new shade of modern, adult, atmospheric emotion and feminine pressure"

Answering a need for sincerity and intimacy in overwhelming times, Berlin's @perila makes her striking solo debut with a blush-worthy suite of sonic erotica, ASMR and sensuous ambient environments...

Tracklist:

A1. Natʼs Poems (with Nat Marcus) 
A2. Mouth Full Of Tahini

B1. Sweat (with Inger Wold Lund) 
B2. XY Object Of Desire 
B3. Message From Another Table

Digital Bonus: Wet

Edition of 300 copies.
Mastered by Lawrence English at Negative Space, cut at D&M Berlin.
Release Date: 18/07/2019

Browser Music 4

Andrew Pekler

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