Mix by CoH (Иван Павлов) – Russian-born musician, sound artist>>>>>>>>>>>

Tracklist // Треклист:

time to time - COH 'RETRO-2038' - editions mego 2013
i ascend, bright with an oxygen mask - COH 'ABOVE AIR' - eskaton 2008
imperfect ending - COH 'MUSIC VO' - wavetrap 2020
mo-no - SOISONG 'kAm1e' - with akemi shimada & peter christopherson <coil> - soisong.org 2021
gust, pt. i - OXY 'AETHER GUST' -with sasha galianov <shortparis> - alara 2022
red square - COH 'IIRON' - editions mego 2012
utopa, me too - COH 'MASK OF BIRTH' - raster-noton 1997
bolero - COH 'WYGG' - noton+ 2022

https://coh-official.bandcamp.com
//
http://post-pop.org

034 – COH – Broadcast 202201

This is a mix that came out a few months back via the Electronic Music Culture series Atmospheres. It flew under the radar a bit so I thought I'd repost it here. It features a handful of artists who continually inspire me. The mix is anchored with the field recording of Champignonsdesbois and is called The World Is Full Of Noises.  

Below is the original blurb and full track listing that was posted at by E.M.C. at time of original release.

E.M.C. is thrilled to present the new guest of our Atmosphere playlist: Moss Covered Technology
Based in South West UK, Greig Baird debuted with the Moss Covered Technology alias in 2016 for Eilean Records. His works are inspired by the ideas and aesthetics emerging from the observation and experience of natural landscapes and environments, creating unique atmospheres. Since his debut, Greig has gone on to release ambient works for some prestigious labels reflecting his music taste, such as Hibernate Records, Polar Seas Recordings, and Dronarivm.
Let's have a dive into this special mix "The World Is Full Of Noises"!

Tracklisting

1. Rain in Ubud, Indonesia - Champignonsdesbois - Taken from the album Missed Calls - Shimmering Moods Records, 2021
2. 04 - Steinbrüchel - Taken from the album Parallel Landscapes - 12k, 2015 3. Amps, Drugs, Mellotron - Tim Hecker - Adult Swim Singles Program, 2014
4. The World Is Full of Noises - Guenter Schlienz - Augenblicke - Sacred Phrases, 2016
5. Untitled - Moss Covered Technology - Unreleased, 2021
6. Premonition - Innesti - Taken from the album Formless - Self Released - 2019
7. Muezzins, Evening Birds and Dogs in Turkish Village - Champignonsdesbois - Taken from the album Missed Calls - Shimmering Moods Records, 2021
8. Untitled 2 - Landtitles - Taken from the album Hold on to Where Your Heart Is - 2018
9. ⠠⠑⠏⠊⠎⠙⠑(えぴそーど) - W.E._aa - Taken from the album ག - Shimmering Moods Records, 2021
10. Lumina - Loscil - Taken from the album Clara - Kranky, 2021
11. Spheres - Mikael Lind - Taken from the album Geographies - Dronarivm, 2021
12. Tortoise Capoeira - Tsone - Taken from the album One Chance to Mend it All - NeoTantra, 2021
13. Tournemine - Pheek - Taken from the album Sensibili - 2021
14. Slow Decline; A Space Within - Xu & Darren Harper - Taken from the album
Arising & Ceasing Of Things - Rottenman Editions, 2021
15. B4. 涼む - Rhucle - Taken from the album With - Lontano Editions, 2021
16. ⠠⠑⠍⠕⠰⠝(情調) - W.E._aa - Taken from the album ག - Shimmering Moods Records, 2021
17. Suddenly (Naturally) - Andrew Pekler - Taken from the album Sentimental Favourites - Dekorder, 2011
18. Walking in the Medina, Marrakech, Morocco - Champignonsdesbois - Taken from the album Missed Calls - Shimmering Moods Records, 2021
19. Pink And Golden Billows - Brambles - Taken from the album Charcoal - Serein Records, 2012

'The World Is Full Of Noise Mix'

ADAM BADÍ DONOVAL - Grandma's Tape
MANJA RISTIĆ - Muhe
CUCINA POVERA & BEN VINCE - ∞
MARTYNA BASTA - Unknown Reel Tape
PIOTR KUREK - Chordists
RG - Impulsion
SOFIE BIRCH & ANTONINA NOWACKA - Sudany
SSABÆ - l'archipel fractal
IRIS - Resurec
ATS - Dip
ROMA VJAZEMSKI - Untitled (Forthcoming)
BRYOZONE - Ghosts of Tribe (Forthcoming)
EYOT TAPES - Jungle Tapes (Forthcoming)
REZO GLONTI - Good Road (Forthcoming)
LUCRECIA DALT - No tiempo
ELYSIAN SPRING - Glass Flowers

Muscut Show at LYL 15.12.22

cory arcane found her comfort zone in a constant state of crisis, and her liberation through love, sensuality, and high-speed internet access.
as some might recall, she used to struggle with her own decay, navigating an intricate web of bureaucracy, endless social-media scrolling, 24-hour news channel feeds and marketed strategies of seduction.
her intense and continuous obsession for surf, breakdancing and cat videos might have saved her from a silent decline, but it would be her first attempts at integrating a professional ballet company that provided the initial spark. her unorthodox dance movements were often considered shocking, transgressive, and barely legal; and even though some recognised her genuine talent, it was clear she would never make it into this structure. this is when she started her slow drift towards the outer limits of society, in search of the way to achieve the conditions for absolute freedom.
her emancipation was surely marked by different forms of excess: the inappropriate use of fireworks, the consumption of large quantities of alcohol and controlled substances, as well as the occasional blasts of kitchen appliances.
she bypassed the gender war and became an expert in advertising sabotage. soon cory would give academic courses on the true liberation of the mind, or, in her own words, the apotheosis of senses.
lately, she could be seen squatting in the outskirts of different giant metropolises, embracing the mayhem, contemplating the crumbling of a system. the sound of the city, mixed with the music on her headphones, would weave complex rhythms and futuristic textures into a beautifully coloured, pixellated surface.
looking out onto this fabulous chaos, she smiled.

»cory arcane« is kangding ray‘s fifth album on raster-noton and will be released as CD, double vinyl LP, and digitally.

kangding ray - when we were queens

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

Stephen McCaul from @noise-e doing a quick demo performance on an all-Noise Engineering system.

Check out Noise Engineering's product line on Perfect Circuit: https://goo.gl/7I4GHI

Noise Engineering In-store (6/21/17)

Fahmi Mursyid - Lautan

Performance
Saturday, March 31st, 2018

ISSUE Project Room
22 Boerum Place, Brooklyn

Saturday, March 31st, ISSUE presents Parisian-born artist Félicia Atkinson presenting a brand new performance involving an imaginary dialogue between the poems of Francis Ponge (1899-1988) and texts of her own, in French and in English, accompanied by electronics, voice and piano. The evening also features Afrikan Sciences & Sassacyprigo presenting a performance of nuanced soundscapes, mindful movements, and rhythms that conjure different temporalities.

Atkinson’s distinct practice incorporates diffuse poetic atmospheres and pointillistically rendered sounds that constantly suspend and re-introduce themselves. Often moving to emphasize the relationship between music and sculpture -- sound and its spatialization -- Atkinson’s work concentrates upon the implicit narrative of a “poetics of things” happening in sound. Here, like in the poems of Ponge, a profound “readymade” empathy toward objects, technology, and music emerges. Atkinson is also co-director for the label Shelter Press alongside Bartolomé Sanson, which has released works from Ben Vida, Gábor Lázár, Tomoko Sauvage, D/P/I, Stephen O’Malley, and others.

"La nuit parfois ravive une plante singulière dont la lueur décompose les chambres meublées en massifs d'ombres." The night sometimes revives a singular plant whose glow breaks down the room furnished in masses of shadows" -- Francis Ponge, The Candle (La Bougie) in Le Parti Pris des Choses / The Nature of Things, 1942

Emerging from a long lineage of musical structures born from the difficult social and political conditions of race relations, Afrikan Sciences uses electronic instruments as a medium for open-ended explorations of form and composition across the musical linguistic heritage of African-American music, while Sassacyprigo’s free-form dance stylings channel intuitive action and a continuous “soul survivalist” strength to live free.

“As a human being, I find that I’m at constant battle between the imposed power structure’s ways of looking at freedom and actually living free,” Sassacyprigo states. “It is within my search for personal voice and belonging that I create.”

This program is curated by writer and media theorist DeForrest Brown Jr. Concerned with speculative futures in performative contexts, Brown is part of the cataloguing space Elevator to Mezzanine and was ISSUE's 2017 Suzanne Fiol Curatorial Fellow.

Recorded by Bob Bellerue / Mixed by James Emrick

Félicia Atkinson - LIVE at ISSUE / March 31st, 2018

R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her
solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop
minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated
on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On
manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch. The songs are full of
air and light; infectious, melodic and off-the-cuff.
Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth
belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language –
divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel
guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes,
realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the
undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like
the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps
and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of
perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of
repetitive listening.
Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist
mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist
becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at
the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces
Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless,
conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go
outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be
honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting.
The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and
grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a
loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble
provides aural snakes for the listener’s ear to follow.

R. Elizabeth - SPIRITUAL TO SYMPHONY (from Every And All We Voyage On)

Pre-order availabe now via Imprec.com
Cassette edition of 100 via Cassauna/Imprec

ALEXANDRE BAZIN​ is a member of the ​Groupe de Recherches Musicales​, better known as the GRM, for which he writes documentaries about music for the radio. He is passionate about experimental music and more specifically acousmatic music created by members of the GRM, such as Bernard Parmegiani, Francois Bayle and Guy Reibel. Due to his background as a classical and jazz pianist, Alexandre Bazin is also passionate about instrumental music by the likes of Steve Reich, Erik Satie, Brian Eno ... This album attempts to synthesize these two worlds that are so dear to the composer, either in symbiosis or in opposition to one another with simple and loose melodies as its main theme. The use of analog synthesizers and acoustic sounds are at the heart of the composer's creative process. His music has already been heard thanks to Umor Rex Records in Mexico and the Moogfest festival in the USA.

OCEANS :

"Oceans" ​was written for Marimba, Piano and Buchla Music Easel, in 4 movements around the theme of the Ocean. Simple and loose melodies, played on piano and Buchla. They rotate around the marimba which evokes breathing and the rhythm of the swell. Suspended melodies reminiscent of Generative music although in this case they are an improvisation around a simple motif. Through its title and movements, this work evokes a reflection around climate change and our relationship to Oceans: water, breathing, the repetition of movement, but also its immensity which reminds us of our limits. The piece was performed by Alexandre Bazin on Piano, Buchla Music Easel and Marimba as well as Gabriel Benlolo on Marimba, a member of the Radio France Philharmonic orchestra.

Alexandre Bazin  -  Underwater (Part 4) From Oceans/Dream - Land - Cassette

Picture disc edition of 300 copies

Maja S. K. Ratkje is at the forefront of the musical avant-garde. Her music is bold, original and it is meant for sharing. At its heart lies Ratkje’s own voice, an open door to her individual musicianship and a constant tool for realigning her work with natural expressions and human truths.

On Mara, layers of vocals overlap and layer their way through the reverberant woodwork of an early baroque parish in Austria. At times slow and beautiful, other times frantic and sinister, this live recording is full of depth, passion and life. 

Live-recording at Pfarrkirche, Lockenhaus at Kammermusikfest Lockenhaus July 9, 2018. 

Recorded and mixed by Peter Laenger and Andreas Ruge from Tritonus Musikproduktion.
Mastered by Maja S. K. Ratkje at Svartskog 2019.

All music created and performed in real-time by Maja S. K. Ratkje, except sung parts from the Norwegian traditional Hanen sten på stabburshella and the American traditional Mining for Gold. 

Maja is using voice processing software created by Øyvind Brandtsegg. 

www.ratkje.com

Maja S.K. Ratkje - Mara - Picture Disc LP - Pre - Order Available now

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