"musica assoluta" (luglio 2021)

Lend Me Your Radio - Jul 21

Qilin House Volume 10

picture: last night the moon came dropping its clothes in the street.
(Zagreb, dec 2019)

hassell/ no hassle

Andrew Pekler

Wah-Wah Whispers

Di Na Natuto OST My Amnesia Girl

DATE: 10nov97
CITY: Nice, France / Opera de Nice
EVENT: MANCA Festival / with Gregg Arreguin, Peter Freeman, Jamie Muhoberac

Radiobroadcast on Dutch National Radio

Manca New Music Festival Nice France

Track02

Kuronami

Anna Mark Richter-music, voice, poetry, visual, cover

Vadimpetrenko: music, mixing, guitars, voice, vinyl, digital touch tools: generator, pianos, keyboards, e-contrabass, bass, e-clarinet, strings, brass, drums, percussion, chinese erhu, chinese lute /pipa/, koto, guzheng, chinese kit, taiko

I am a DNA owner,
That is my only passport!
I've got my secret number- 
My security password.

I am Combination of Numbers
Written by algorithm...
I am a DNA owner,
I have my own rhytm,
I am a DNA owner
It is my living license.

There is SO SOLAR SYSTEM 
always sunny around
One day it must be finished
Well, not now, not now...
I am a DNA owner
For a while,for a while...

Я - Комбинация Цифр
Я несу свой таинственный шифр
Я носитель своего ДНК,
Но это пока, это пока..
В этой системе так солнечно 
В этой системе ТАК СОЛНЕЧНО, 
Когда-нибудь это все кончится,
А пока....

DNA Owner-Voice Generators Soul Organ Chinese Kit And Chinese Erhu

JUST BEFORE A DISCOVERY

A piece for Naviar Records' weekly haiku challenge. As the first word is 'experimenting', I thought I'd experiment with odd time signatures. The haiku has 5, 5 and 8 syllables, so my piece is based round two bars of 5 beats and 1 bar of 8 beats. I also wanted the piece to be quite melodic with the melancholy feel of a moonlit night under the trees.

I Hung The Moon On Various Branches (naviarhaiku391) - Adrian Lane

Ghtcheona

Tribute To Jon Hassell (1937 – 2021)

Jon Hassell was one of the world’s most innovative musicians and one of 20th century most influential composers. His music has established a genre that goes beyond the notions of jazz, neo-classicism, new music or new age. Jon’s concept of Fourth World Music transcends the so-called ‘primitive’ and the so-called ‘futurist’ by seamlessly uniting traditional rhythmic and melodic concepts with recombinant aesthetics made possible by the creations of high technology. Fourth World music is the soundtrack to an imaginary future culture based on the mingling of ancient and modern, Western sophistication and Third World primitivism. Its music for nowhere / nowhen, a place that doesn’t actually exist yet. As Miles Davis, Jassell have transcended the Trumpet’s inherent limitations and use it as flexibly, as expressively and as intimately as a great singer uses his voice.

RIP Jon

Jon Hassell Tribute by Jaba Shavishvili [02.07.2021]

On the occasion of the passing of Jon Hassell.

Fanfare (for Jon)

Sunday Morning Hum

Preview of The Universal by The Penitential Station, on Other Forms of Consecrated Life (OF/11) 2021.

The Penitential Station / The Universal (OF/11)

German-Icelandic electro-acoustic trio Minua’s new EP Simulacra explores just tuning systems and alternate temperaments. Utilising various instruments like woodwinds, a modular synthesizer, a Bavarian zither or electric bass, the trio stretch barely song-like structures to their limits; the four pieces here move with glacial grandeur, their movement barely perceptible. 

The first half of the record revolves around the element of air. The opening “Order of Instants” utilises layered woodwind instruments to create a harmonic space inspired by an 18th century temperament often used by organ tuners. “Final Service” is an ode to overtones and noise, fusing bass clarinets with modular synthesizer and processed electric bass to calming, slowly modulating effect. 

The second half of the record shifts the trio’s focus to plucked instruments, but the pieces retain their slow-moving, monolithic character. “Sixfold Wilted Rose” features a Bavarian zither, unravelling its shimmering beauty on the bedrock of drone sounds like a rose blooming in parched soil, while the closing “Ascension Point” continues in a similar mood, a droning calmness underpinning the gentle electric guitar plucks. 

Inspired by traditional musics, elements of jazz and contemporary drone, Minua have created a body of work that draws parallels between musical worlds. Simulacra is beautiful, patient music.

Released by Warm Winters Ltd. as WW012 

Fabian Willmann – woodwinds 
Kristinn Kristinsson – guitar, electronics 
Luka Aron – guitar, zither, modular synthesizer 

Tracks 1-3 written by Luka Aron 
Track 4 written by Kristinn Kristinsson 

Recorded by Daniel Nentwig at Butterama Recording Center 
Mixed by Luca Aaron and Kristinn Kristinsson 
Mastered by Rashad Becker at Clunk 
Cover artwork by Nat Marcus

Simulacra

Minua - Final Service

Sometimes the stars align and magic happens. When Michel Banabila came upon the Ümlaut photo gallery on Instagram, he was struck by a particular image. Thinking it would make the perfect cover art for his ambient music single with Jeff Greinke, he contacted Ümlaut (multi disciplinary NYC based artist Jeff Düngfelder). Their ensuing correspondence revealed Düngfelder, too, was a music composer.

Following this synchronous meeting, Banabila and Düngfelder began their collaboration. During the mixing of the individual tracks, Banabila suggested using fragments from recent violin improvisations of Salar Asid, a talented Kurdish violinist with whom he’d enjoyed working for many years. Asid readily agreed to join the project.

The result is the provocative, strongly cinematic, two-track single called “Burgeon” - a blend of dark ambient and musique concrete.



Music composed & performed by:
@jeffdungfelder, Michel Banabila, Salar Asid.
Artwork by: @jeffdungfelder.
Mix by: Michel Banabila.

This EP is a download only.

www.umlaut.us
www.banabila.com
salahaddin-erbil.academia.edu/salarasid

Burgeon

buy at bandcamp

with Ümlaut & Salar Asid: Burgeon B

Taken from ' An Afternoon Whine' LP/Digital out 15/07/2021 (ELP069, Ecstatic Recordings)

‘An Afternoon Whine’ is the first release for Ecstatic by claire rousay and mari maurice aka more eaze - it offers a highly personalised conception of ephemeral avant-pop by two of the US experimental scenes most insightful operators; collapsing ambient, electro-acoustic and gauzy guitar shimmers into a shared, lucid dreamworld.

Feeling like a milestone in both artist’s prolific catalogues, the album’s heady drift finds our collaborators recording in the same room for the first time, diffusing a palette of vocals, guitar, field recordings, piano and violin into a singular sort of etheric chamber pop. 

Beautifully frayed at the edges and with a sanguine melodic core, their music evolves and resolves from the nanoscopic through to a panoramic view across its five pieces, with melodic motifs and lowkey vocals that occur with uncannily natural logic and quiet wit. 

The results are Budd-like in their slow blooming elegance, but elusive as anything from the neo-ambient spheres of uon or Perila et al, and osmotically influenced by R&B and cloudrap as much as indie-pop proper.

‘An Afternoon Whine’ is best framed as a warts-n-all snapshot, poetically limning a sort of day in the life of rousay & Eaze, replete with the domestic rustles and ephemeral passages that have made the former’s work so spellbinding, and glinting with the kind of memory-jogging motifs that give body to more eaze’s explorations of  electro-acoustic sketches, identity, and perception. 

It’s hard to think of another duo who’ve smudged the borders so subtly and expressively between the flushing toilet and piano spritz of ‘Great Song’ and the heartfelt autotuned paean of ‘Smaller Pools,’ and with the ability to subliminally unstitch convention and reweave it in their own image, as with the lush tension and imperceptible room transitions of ‘Floor Pt. 3,’ or how ‘Songs For A Tuned Guitar’ reclaims the supernatural from the domestic with such poetic guile.

Buy!

claire rousay + more eaze - smaller pools [ELP069]

Benjamin Gustafsson - ... then suddenly everything got quiet (A_ldric remix)

From the album Sounds From Phantom Islands:
https://andrewpekler.bandcamp.com/album/sounds-from-phantom-islands

Bandcamp

Taprobana

LNT: http://po.st/olafurLNT  
iTunes: http://geni.us/LNTolafurarnalds
Bandcamp: http://po.st/olafurBC 

Standing at the intersection where techno meets classical music, Ólafur Arnalds directs the new Late Night Tales.

“When I was asked to do the next installation of the Late Night Tales series I thought "This will be fun and easy, only a couple of days work. No problem!". Six months later, I was still pulling my hair out in some kind of quest to make the perfect mix. As someone who has never really done mixes before, I learned a lot of things along the way and the whole experience was very inspiring. I decided to approach the mix in a similar way as I would one of my scores. This is the soundtrack of my life. I included songs from many of my friends and collaborators and tried to deliver a mix that represents who I am as an artist and where my influences are coming from - both personally and musically.” - Ólafur Arnalds, March 2016

Follow Late Night Tales:

Web: http://latenighttales.co.uk
Facebook: http://www.facebook.com/latenighttales1
Twitter: http://twitter.com/LateNightTales
SoundCloud: http://soundcloud.com/latenighttales
YouTube: http://youtube.com/latenighttalestv
Instagram: http://instagram.com/latenighttalesofficial
Spotify: http://goo.gl/Q98T7d
Apple Music: https://music.apple.com/us/curator/late-night-tales/1233898093
Bandcamp: https://latenighttales.bandcamp.com/

Late Night Tales: Olafur Arnal

Ólafur Arnalds - RGB (Late Night Tales: Ólafur Arnalds)

Artist: Andrew Pekler
Album: Tristes Tropiques
Format: LP/DL
Label#: Faitiche14
Release date: November 11th

Faitiche welcomes back an old friend: Andrew Pekler was the musical director of the 2011 album Ursula Bogner – Sonne=Blackbox (faitiche05 lp/cd/book). Known for his albums on Senufo Editions, Entr’acte, Dekorder, Kranky and other labels, Andrew Pekler’s new work Tristes Tropiques is now released by Faitiche. Tristes Tropiques is an album of synthetic exotica, pseudo-ethnographic music and unreal field recordings.  

Find out more about Andrew Pekler’s Tristes Tropiques in the following interview:

Jan Jelinek: You’ve titled your album Tristes Tropiques – a reference to Claude Lévi-Strauss’ famous account of his travels among native peoples in the Mato Grosso. If I remember correctly, the book can be read in two ways: as an ethnographic study of indigenous Brazilian tribes, and as a critique of anthropological methods. What exactly about Tristes Tropiques inspired you? The melancholy travelogue, or the formation of a new, critical school of thought?

Andrew Pekler: Both. Lévi-Strauss’ constant reflection on the purpose of his work and the often melancholy tone of his writing constitute an internal tension which runs throughout the whole book. Tristes Tropiques is many things; autobiography, traveler’s tale, ethnographic report, philosophical treatise, colonial history. But ultimately, it’s the author’s attempt to synthesize meaning from fragments of his own and other cultures that resonated most strongly with me – and led me to a new perspective on how I hear and make music. 

JJ: Listening to Tristes Tropiques I noticed a certain oscillation between references, which is what I really like about it. Obviously, your music alludes to the beloved fairytale kitsch of exotica, but it also repeatedly shifts to a mode of ethno-poetic meditation music that seems to have no beginning or end. Where do you yourself locate the tracks gathered here? 

AP: As a listener and as a musician, exotica music of the 1950s and 60s has always been a constant reference point and inspiration. And perhaps my listening has been ‘ruined’ by exotica, but as I have dug deeper into ethnographic archives of ‘traditional’ music, I’ve come to the realization that all recordings that evoke, allude to, or ostensibly document other musical forms have a similar effect on my imagination: I am most intrigued when I perceive some coincidentally familiar element within the foreign (a tuned percussion recital from Malawi that immediately brings to mind Steve Reichian minimalism, or the Burundian female vocal duet that sounds uncannily like a cut-up tape experiment, etc.). I suppose this album is an attempt to recreate the same kind of listening experience as what I’ve described, just with the electronic means that I have at hand. 

JJ: I know that you perform Tristes Tropiques not only as music, and that there is visual and spatial aspect to the presentation. Can you reveal more about this?

AP: I made an accompanying video – mainly close-up footage, shot in Thailand, of various tropical flora. The video was recorded at very slow speed and this gives the plants, flowers, trees, bamboo, etc. the appearance of rather abstract objects. In live performance, this abstracting effect is further emphasized through real-time modulation of the colors, brightness and other parameters of the video image. There is also an installation version of the video that is meant to be projected on multiple screens / walls and with its own soundtrack of heavily manipulated field recordings captured in the same locations in the jungle.  

JJ: We can get an idea of what this looks like from the beautiful video stills on the back cover of the album.

Andrew Pekler: Theme From Tristes Tropiques / Avian Modulations / Life In The Canopy

Gibbons of Siem Pang Protected Forest recorded by Adrian Stoeger
Andrew Pekler - Untitled / Insect March
Alessandro Brivio - Untitled
Jake Meginsky - Vandals + Waldkautz Balz recorded by Walter Tilgner 
Mike Kitcher - Processed Snippet of "Congo Traditional 1952 & 1957" # 8
Yannick Dauby - 蛙界蒙 + Francis Bebey- Sanza tristesse
Unnamed Aka Pygmy Singer - Dikoboda sombe (Hut song solo) + Morton Feldman - Samoa
Hanno Leichtmann - Primitiva 4
Three Legged Race - Tyrant (loop) + Lieven Martens Moana - A Subtle Landscape + Knud Viktor - Images
Luluwa people of Congo - Wa Kabwala Wa Beena Luluwa + Andrew Pekler - additional sounds 
Andrew Pekler - Synthetic Gamelan & Frogs
Yas-Kaz - Psychopomp + Tor Dietrichson - The Conjurer + Asmus Tietchens - Vektor 2 R
Rupert Clervaux & Beatrice Dillon - Study VII for Samplers and Percussion + Louise Lawler - Birdcalls
Günter Sommer - Hörmusik + Jake Meginsky - Four Zopas
Native Instrument - Live at Atonal 2016 + Cluster - Rote Riki (loop)
Pierre Henry - Continuum + Adam Asnan - Rev Sets 11
Hamza El Din - Song With Tar + Yannick Dauby - A Pattern Which Connects B
Gamelan Son of Lion - Gamelan II
Geinoh Yamashirogumi - Agba'a
Andrew Pekler - Humidity Index / Khao Sok (chopped and screwed)
Gibbons of Siem Pang Protected Forest recorded by Adrian Stoeger

Fourth World Problems II

Jon Hassell (2009) Last Night the Moon Came Dropping Its Clothes in the Street.

Taken from Jan Bang's debut album "...And Poppies From Kandahar".

For more info visit:

http://www.samadhisound.com/janbang

Passport Control

Artist: Andrew Pekler
Album: Sound From Phantom Islands
Label#: Faitiche20
Format: LP/DL

Faitiche is delighted to present a new album by Andrew Pekler: Sounds From Phantom Islands brings together ten tracks created over the last three years for the interactive website Phantom Islands - A Sonic Atlas. With his 2016 album Tristes Tropiques, Pekler created a highly unique cosmos of ethnographic sound speculations. Sounds From Phantom Islands continues and simultaneously expands this concept: finely elaborated chordal motifs float like fog over fictional maritime landscapes. A masterpiece of contemporary Exotica.

Phantom islands are islands that appeared on historical maps but never actually existed. The status of these artefacts of European colonial expansion from the 15th to the 19th century oscillates between cartographic fact and maritime fiction. Sounds From Phantom Islands interprets and presents these imaginations as a quasi-ethnographic catalog of music and synthetic field recordings. The pieces on this album are based on recordings made for Phantom Islands - A Sonic Atlas, an online interactive map developed with cultural anthropologist Stefanie Kiwi Menrath.

Andrew Pekler: Description Of Rain (Over Frisland)

patterns of perception | moiré in motion | 116mins | 89 - 115bpm
_

Formed in Berlin in 2016 by six friends, Patterns of Perception is dedicated to cultivating compelling, visionary electronic music through their residencies at OHM Berlin and ://about.blank, in parallel with their long-running and influential mix series and zine.

This mix is a collaborative effort, with track selections from all six members of the crew: Kim Bergstrand, Bianca Shu, Steve Duncan, Zilke Grogan, Ray Pham, and Andreas Maan. Among the wide variety of artists represented, a couple of friends and collaborators can be heard: Aleksi Perälä and natural/electronic.system, however the majority of the music is drawn from other times and places. In putting the jigsaw puzzle together as a mix, Andreas Maan tried to allow the selections themselves to guide the way, and the result is a meandering journey: a subtle, glimmering collage punctuated by rising and then dissipating tensional layers.
_

Harold Budd - Jane 14
Stars of the Lid - Swellsong
Aleksi Perälä - UK74R1407020
Autechre - Bronchusevenmx
Kato De Vidts - The Watcher
Synkro - Knowledge
nthng - A Soul's Search
Reinis Ramans - Luminosity
Diane Barbé - Something for the Mountains
Micus - Violetta
Marylin Mazur - Pathway
Si Matthews - Radial Velocity
Steevio - Hiraeth
natural/electronic.system - Cerbero
Steven Rutter - Neuro Fracture
Anthony Linell - The Levels of Existential Space
Dream Carpets - Melon City
Mick Chillage - Hypersleep
Sonmi451 - Probe
jjjacob - Entering Autumn
Deep Forest - Sweet Lullaby (Ambient Mix)