spring tease sneeze

info + tracklist: https://radio.syg.ma/episodes/fermata-w-wehrk
https://soundcloud.com/wehrk
https://soundcloud.com/nikitamillennialrain

fermata

fermata w/ wehrk

info: https://radio.syg.ma/episodes/fermata-steel-songs
https://soundcloud.com/nikitamillennialrain

fermata – steel songs

An Empty Safe

mix/master : Skrapes (@officialskrapes)


et dans la nuit je cours, je tombe 
je m’acharne comme un ange qui pleure  
des fois j’aimerais quitter ce monde
alors dans la neige en silence je creuse ma tombe  
j’veux pas leur dire, au fond j’ai peur 

j’attends, je cours, je tombe 
alors dans la neige je creuse ma tombe 
 je cache mes secrets dans l’ombre 
je veux pas te partager avec le monde

je veux pas te partager avec le monde 
______

and in the night i run, i fall
i’m fading like an angel crying
sometimes i wish i could leave this world
so in the snow i dig my grave in silence
i don’t wanna tell them but i’m scared

i wait, i run, i fall
so in the snow i dig my grave
i hide my secrets in the dark
i don’t wanna share you with the world


i don't wanna share you with the world

je creuse ma tombe

Broshuda’s infamous social vocabulary is filled with obscure terminology and coded cross references to the likes of “Ambient Punk”, “Glambient" and “Aquatic Romanticism”. These might come as bizarre attempts to define his peculiar and hard to pin down style of electronic music, while simultaneously mocking the need to market music through highfaluting press and academia- approved labels. This same skewed ambiguity informs much of the berlin-based producer’s creative attitude and the rest of his output, for his first release for Haunter Records generating pieces of apparent simplicity that gradually unravel to engage in complex emotional vignettes, drawing from a limited pool of sound sources while paying a great deal of attention to detail in the construction of sound and temporal structure. Subtly tweaking and rearranging the focus, he emphasizes the background’s definition while meditating on blurring and masquerading what should have been foreground into new forms and shapes, evoking a world of hallucinatory sonical flora steadily in flux, descending and ascending through thick layers of shifting motions and memories, touching upon multitude of non-places along the way. An array of tools and techniques on display akin to those of classic dub, contemporary sound design on obscure and random equipment and post-rave power ambient poems, coalescing with a pronounced melodic element, giving the release a profoundly introspective and earthy character.

Broshuda -  Goscha (w/ Vuptes) [FROM SPCTR009 - BROSHUDA - JEMI / OUT FEB 16, 2018]

A collage of sounds from http://www.andrewpekler.com/phantom-islands/ – an interactive website that charts the sounds and histories of islands that were once found on nautical maps but have since disappeared.

Phantom Islands are artifacts of the age of maritime discovery and colonial expansion. During centuries of ocean exploration these islands were sighted, charted, and described – but their existence was never ultimately verified. Poised between cartographic fact and maritime fiction, they haunted seafarers’ maps for hundreds of years, inspiring legends, fantasies, and counterfactual histories. Phantom Islands – A Sonic Atlas interprets these imaginations in the form of a map of speculative sounds from 27 phantom islands around the world.

Phantom Islands (Collage)

Breeze

For The Past

Available on July 9 in digital and limited-edition cassette at:
bambooshows.bandcamp.com/

6 months after releasing the first episode of its compilation tapes, Lyon-based label Bamboo Shows is about to deliver the second chapter of the series, featuring 14 artists on a 90-minute cassette to promote audio sophrology, 90’s reminiscences, psychedelic atmospheres and tribal breaks.

Once again, head-honcho @erevandj aimed to present a distinct yet complementary vibe on each side, leaving the exotic and ecstatic atmosphere of the BST001 for a more introspective and darker curation.

Including poetic and melancholic productions from Italian Lamusa II, Swedish Golden Ivy, English Wåveshåper (one of the many projects of Greg Hunter), Russian Misha Sultan, Spanish Entten, German Airchina and local talent Vague Imaginaires, the A-Side highlights dreamy new age, delicate neo-folk and ethereal kosmische-kraut, considerably inspired by the 70s-80s wave.

Yet, this gentle path drawn by the A-Side will slowly lead the listener to some more percussive, tribal and dubby materials as the B-Side shows a twisted and wild tension, aroused by gloomy works from Lyon gems Jonquera & HLM38, Venezuelan Bear Bones, Lay Low, German Vector Trancer, Serbian Andria, British Angel Hunt & Lou Venturini, and will perfectly come to an esoteric end with the closing track by Komodo Kolektif.

Concurrently with this limited release of 150 cassettes, the label is reissuing 50 copies of the BST001, Featuring renowned RAMZi, Niklas Wandt, Star Searchers' Spencer Clark, DJ Ungel & DJ Rasputin and local heroes Eiger Drums Propaganda, Christian Coiffure, Jacques Satre or Lastrack.

& also a limited edition-series of black or white T-shirts with artwork from Dima Rabik to celebrate or collaboration with the Russian Artist on this second release.

Available on July 9 in digital and limited-edition cassette at:
bambooshows.bandcamp.com/

TRACKLIST:
A1. Lamusa II – D'Aria (@lamusalamusa)
A2. Vague Imaginaires – Louis' Boat (@youpidoumusic)
A3. Golden Ivy – Till Jorden (@golden-ivy)
A4. Entten – Fonts Ufanes (@entten)
A5. Airchina – Mothermold (@airchina)
A6. Misha Sultan – 2562 (@mishasultan)
A7. Wåveshåper – Expansion Phase II (@dubsahara)
B1. HLM38 – Une Suze avec Anna (@hlm38)
B2. Bear Bones, Lay Low – Oruguero (@bearboneslaylow)
B3. Angel Hunt & Lou Venturini – Dessert Vents (@greenbelt999)
B4. Jonquera – Président Baker
B5. Vector Trancer – Uranus Crypt Haunt (@vectortrancer)
B6. Andria – Shandumir (@androan97)
B7. Komodo Kolektif – The Reptile (@komodokolektif)

CREDITS:
Mastering: Guillaume Lespinasse
Artwork: Dima Rabik
Design: Loïs Markarian
A&R: Erevan DJ

LINKS:
Bandcamp: bambooshows.bandcamp.com/
SoundCloud: www.soundcloud.com/bambooshows/
Facebook: www.facebook.com/bambooshows/
Web: www.bambooshows.com
Discogs: www.discogs.com/fr/label/1732183-Bamboo-Shows
YouTube: bit.ly/bambooshows-yt
Mixcloud: www.mixcloud.com/bambooshows/
Instagram: www.instagram.com/erevan_bamboo/
Contact: bambooastruth@bambooshows.com

Bamboo Shows Tapes 002

Fonts Ufanes

Download & Buy Tape

A4. Entten - Fonts Ufanes (BST002)

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

Phantom Islands (Collage)

Andrew Pekler