Dark Enlightenment (Low)

Arara

Sabia 02

END - 40 Days Of Silence - Jacob Kirkegaard - Soundtrack -VON019

You Only Live Ice

V/A - mono no aware もののあわれ

Format: 2xLP / Digital
Label: PAN
Cat.No: PAN 77
Release Date: 17 March 2017

http://p-a-n.org/

purchase:
site: http://bit.ly/2mQN5AO
bandcamp: http://bit.ly/2n9ToSm

mono no aware (もののあわれ) is the first compilation to be released on PAN, collating unreleased ambient tracks from both new and existing PAN artists.

Featuring Jeff Witscher, Helm, TCF, Yves Tumor, M.E.S.H., Pan Daijing, HVAD, Kareem Lotfy, ADR, Mya Gomez, Sky H1, James K, Oli XL, Bill Kouligas, Flora Yin-Wong, Malibu, and AYYA, the compilation moves through more traditional notions of what is called ’ambient’, to incorporating wider variations that fall under the term.

“Mono no aware”, ‘the pathos of things’, also translates as “an empathy toward things", or "a sensitivity to ephemera”. A term for the awareness of impermanence, or the transience of things. A meditation on mortality and life's transience, ephemerality heightens the appreciation of beauty and sensitivity to their passing. In investigating the passing of time, the boundaries between memory and hallucination become blurred; between fiction and reality. The movement of time transforms into an eternal present.

The album is mastered and cut by Rashad Becker at D&M, featuring photography by Molly Matalon and design by Bill Kouligas. A limited version of 100 copies will be released as a special art edition in collaboration with Mount Analog for the LA Art Book Fair 2017, before going on general release.

mono no aware

7. Flora Yin-Wong - Lugere (PAN 77)

10. Jeff Witscher - ok, American Medium (PAN 77)

Gravação de duas pererecas saindo de sincronismo e voltando.

Pererecas

Três peças explorando a pedra de sílex comum no local. Compostas entre 1989 e 1990.
Abandoning the notions of rigor and economy, it practices a mode of composing less contrived and justified than the two others. Long sequences in superimposed loops establish almost graphic relationships of rhythms and spatial interplays, sometimes being interrupted by irrational masses. Harmonicity attempts are either mixed with or interpolated by rhythmic sections.
Esta última peça do ciclo NORFOLK FLINT também foi composta com material extraído de pedras de sílex, mas não se limita a explorar pequenas avalanches gravadas na pedreira. Ritmos e personagens são criados a partir da superposição de "samples" com diversos tratamentos e "loops", que se acumulam de várias maneiras, sempre em busca de uma certa "abundância".

Canto

First part of Norfolk Flint. It presents a conflictive relation between repetition (of only a few pitches) of primitive pulsating rhythms, against the singularity of contrasting events: the noisy coloration of some individuals, the scraping attacks, the movement of virtual places in the panoramic dimension.

Primeira parte da série NORFOLK FLINT, onde tentei extrair o que pudesse de gravações de pedras (flint = sílex) em quedas e choques.
Jogo entre a banalidade (de pulsações e alturas) contra a singularidade de eventos q qualidades contrastantes (ruído, ataques complexos, movimento panorâmico em espaços virtuais.

Introdução à Pedra

Três peças compostas entre 1992 e 1993, explorando movimentos circulares e espirais. Exploração da materialidade siderúrgica e industrial. O crime ambiental e humano em Volta Redonda. Viver em Stoke-on-Trent, importante ex-centro industrial de cerâmica.

A Noite em Concha (1993) encomenda do Arts Council of Great Britain

Industrial Revolutions (1993) encomenda do Groupe de Recherches Musicales de l'INA

Esta é a terceira peça na qual interpreto algumas idéias propostas na escultura HEAVY METAL (cinco mapotecas empilhadas com as gavetas abertas em escada) de Milton Machado. 
A dinâmica espiral e homeomérica da escultura guiou decisões em todas as versões. Esta, a mais recente, é disparada pelo mesmo som utilizado na primeira versão: uma bolinha girando. A primeira versão (HEAVYMETAL-1986) explorava noções de materialidade metálica e uma cadeia seqüenciada de causalidades; a segunda (HI-FI-1987) era fiel aos processos de construção de mapotecas. 
VOLTA REDONDA é o braço da espiral na direção da origem do metal usado nas mapotecas, a siderurgia de uma cidade com nome notável e que acabava de ser sacudida por um terrível acidente. Na peça tentei ‘narrar’ uma progressão lenta fundindo materiais ferrosos (siderúrgicos) com a atmosfera espacial (sideral) por meio de filtragens em sons gravados com o microfone.

Volta Redonda

Parte de Três Peças de Balcão (que são quatro), compostas em 2005. Estreadas em dois canais (originalmente em quatro) no Festival MaerzMusik, no Festspiele em Berlim, em 2005.

Bioacustica

MURCOF + PHILIPPE PETIT: 1st chapter
(LP + CD + Digital / Rev. Lab. - Aagoo)

Release date: September 2013

www.aagoo.com
www.revlaboratories.com

Fernando Corona
Hailing from Tijuana, on the Mexico/US border, and now a Barcelona resident, Fernando Corona rose to attention as part of Mexican collective Nortec, mostly for his work as Terrestre, but it is with another project, Murcof, that he has made an extremely strong impact. Merging micro-beats with samples of contemporary classical music, his work, often crystallised into sweeping haunting pieces, bridges the gap between Arvo Pärt or Henryk Górecki and part of the electronic scene of today. He is credited with being one of the main influences of the likes of Erik Skodvin and of many of the artists who have appeared on Miasmah in recent years.
www.murcof.com

Philippe Petit
This self-styled musical activist began his career as a journalist and DJ in his native Marseille, and went on to form Pandemonium Rdz., a label with which he explored the outer reaches of experimental rock, before turning his interest to electronic music by setting up BiP_HOp Records at the beginning of the noughties. Since 2009, his focus has shifted once again, this time on his own music, a refined blend which can incorporate elements of experimental rock rock or classical music and can take the form of complex electronic, electro-acousticism, experimentation or turntablism. Although Petit occasionally works alone, it is in the collaborative space where he truly thrives, casting his sonic world against that of the likes of Eugene S. Robinson, Lydia Lunch, Pietro Riparbelli, Bella Emerson, Cosey Fanni Tutti, Asva & loads more... 
www.philippepetit.info

The album
The meeting of such unconventional musicians was always going to result in a pretty incredible piece of work, but confronting such strong identities and getting them to work together was not a given. For the past three years, Philippe Petit and Fernando Corona have regularly played live together, undoubtedly refining their collaboration with each new performance and finding the right balance between their respective sound worlds. The result is this album which equally finds its roots in Murcof’s modern classical influences and Petit’s coarse post modernist soundscaping.
The album may barely reach the forty minute mark, but in the space of three tracks, Corona and Petit create a magnificent soundtrack which teems with haunting choral chants, lush string work and unsettling atmospherics. This album is rooted in ancient myths and legends, borrowing from Greek mythology for "The Call Of Circé", daughter of Helios and powerful enchantress, and winged divine horse "Pegasus", or from Nordic tales of giant squid-like sea monsters on "The Summoning Of The Kraken". This very much characterises the epic proportions of this album, echoing in parts the amplitude of Murcof’s "Cosmos" (Leaf, 2007), and in others Petit’s equally ambitious "Off To Titan" (Karlrecords 2010), but they temper this with much more delicate moments, for which they assemble incredibly detailed and refined atmospheric passages.
Clocking at just over twenty minutes, the opening piece "The Call Of Circé" is articulated around a series of sequences which range from stern, doom-like guitar stabs and harsh percussive noises to eerie choral laments and theatrical vocal flourishes. The haunting melodies and ambiences of the first half are slowly broken apart by the recurring thuds of metallic percussions. When these recede, the mood has become darker, grittier, more oppressive, and remains as such for much of the remainder.
"Pegasus" recalls some of the more baroque treatment Murcof experimented with on his commissioned work for Les Grandes Eaux Nocturnes de Versailles, especially through his use of the viola de gamba as a primary sound source, but this sound source becomes corrupted as the track progresses, perhaps subject to Philippe Petit’s radical decay processing, until only a few distorted strands of grating bowed strings remain.
With the last track, Corona and Petit opt for an overall softer, warmer atmosphere, but there is a lingering feeling of impending danger lurking below the surface of the whole piece. This is marked by the use of sparse percussions, magnified vinyl crackles and processed guitars and textures which, assembled in various combinations, weight heavily on the otherwise almost pastoral nature of the composition.
Philippe Petit knows how to find collaborators with whom he can go beyond his own sonic universe and make them venture into unfamiliar territories, and he is an expert in making these collaborations gel perfectly. And this is one hell of a collaboration: two artists, each with this visionary approach, working together to create a truly magnificent piece.
WRITTEN BY Bruno Lasnier / January 2013 (www.themilkfactory.co.uk/st/)

MURCOF & PHILIPPE PETIT : The call of Circé

(1991) Live on Barb Golden's "Crack O' Dawn" show on KPFA from an interactive computer music piece designed and played by Bill Thibault and Scot Gresham-Lancaster. All parameters derived from USGS survey Digital Elevation Models (DEM) of various locations. Data from TAR tapes provided by the USGS.

Terrain Broadcast

Terrain Broadcast #1

I like to be introduced as a "MUSICAL TRAVEL-AGENT".
ONSTAGE I'm mostly playing an Easel K (Buchla Modular Synth) and The Pipe (from SOMA Lab) which allows mouth-synthesis... I also manipulate unique vinyls with my sounds/musics, assaulting turntables to take advantage of the vinyl material to fondle released sounds, raking the needle across the record's grooves, rubbing their stylus on paper, cardboard, metal to process unusual noises and textures. I have a physical relation to my recordings and envision my live sets like performances. 
Gesture is also a very important part of my compositional process... While composing I am also relying on the use of real instruments such as Cymbalom, Pianos, Guitar and Percs that I play like a kid discovering a new toy, improvising and attaching great importance to gesture and stressing dynamics. My moves aren’t consensual, not cozying up potential listeners. A Punky approach even if throughout the past years I have been following courses of Composition + Electroacoustic Music at the Conservatory, specializing in Modular Synthesis. 
Pushing further my research in bringing together the Human and its Machine into a tapestry of sound which creates a deep sound assemblage of exotic Musiques Concrètes which guarantees to grow on you with repeated listens, slowly revealing its detailed richness…

You Only Live Ice

philippepetit

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