Recorded by Josh Kay & Romulo Del Castillo
Designed by Josh Kay
Mastered by Dietrich Schoeneman
Fernando Subirats sings & plays tabla on Frendano  
Dogness contains samples from Kettel's "My Dogan" 

A Schematic / Detund joint-release
Catalog # SCH079 / DUCD02
© 2011, Schematic Music Company
Published by Light Of Man, BMI

Demissions limited digipak compact disc available from Detund on 7/14/11
Phoenecia - Good Man Bones EP (featuring an exclusive vinyl-only track) available from Detund on 7/7/11

Two-Part Invention For Bodhran & Computer

Delivery 2 20 bpm take 1 21625

Valerio Tricoli — Clonic Earth
Format: 2xLP / DIGITAL
Cat.No: PAN 71
Release Date: 24th June 2016
http://p-a-n.org/

The experimental Italian composer returns to PAN with a new LP, titled 'Clonic Earth'. His ongoing output for the label has long-presented his electroacoustic sound compositions where since the mid-'00s, he has utilized analogue live sampling and real-time editing of field and studio recordings by means of manipulation of 1/4 inch tape.

Asides from being a founding member of the Italian avant-rock group 3/4HadBeenEliminated, he has worked extensively with various musicians, choreographers and multimedia artists including Thomas Ankersmit, Antoine Chessex, Werner Dafeldecker, Anthony Pateras, and Robert Piotrowicz.
 
His studio compositions, documented on few records, often explore themes of the internal - represented both by the psychological and the physical - and of the occult, which with the use of spoken text makes them often deeply existential works, self-investigations of the psychological, emotional and irrational horror within.

The new record, 'Clonic Earth' is a perturbing, compelling and eventually mind-expanding work, marked by compositional strategies of exploded narratives, psychological insight and oracular literary references, where questions about the boundaries of spatial perception in the decoding processes of acousmatic music are overturned into existential, metaphysical questions. 

Tricoli's allegorical and philosophical universe takes the form of an unhinged mind's landscape swarming with estranged sound objects, and sometimes reminiscent, in the complexity of details and surrealistic effects, of Hieronymus Bosch’s larger paintings. Compared to his previous works, the content of 'Clonic Earth' explores more synthesized and heavily processed sounds, especially vocals, often appearing in the form of a religious, electrified chanting. 

The record is described by its author as a natural consequence of the internal collapse depicted in his previous record, 'Miseri Lares': "As if all the debris left inside my loudspeakers have been ignited to expand into the ether, to find a justification at the principle of Chaos, or Cosmos alike." 

This movement is expressed by references to the theme of fire as original matter in the Chaldean Oracles which, together with the later work of Philip K. Dick, are the main sources for the vocal/text elements of the composition. Fire, intended as the convulsive principle of existence, but also an ontologically terminal element - hence a representation of the infinite decay and a mean of communication with the otherworldly - serves the author a metaphor for the acousmatic listening experience itself: a borderline perception of sounds eternally fixed in their spasmodic disappearance, which could eventually drag us into a different layer of reality, drastically changing, subverting, or expanding the space in which they are diffused. A ritual, somehow, which may link the listener and the perceptive space that he inhabits with whatever lies beyond the loudspeakers, beyond the vibrating surface of the world.

Valerio Tricoli — I. The Hallowed Receiver (PAN 71)

Taken from the album 'Ground and Figure' released as 2LP and download.

Ground and Figure

Sendai 'Porter Swiss' (EMEGO 232)

Fridge (empire espresso), coins and cash register (Raf Reza) and voice (Cucina Povera)

20190617 194325

Carla dal Forno - Heart of Hearts (Kallista, forthcoming)
Carla dal Forno - Took a Long Time (Kallista, forthcoming)
Vesu’s - Red Eyed Wood Lizard (Going Good, 2019)
Xvarr - Subliminal Bliss (Twin Womb, 2018)
Fabulous Diamonds - G.B.H. (Alter, forthcoming)
O Yuki Conjugate - Raindance (Final Image, 1987)
Partly Cloudy - Sunlight (Forecast, 1987)
Carla dal Forno - Hype Sleep (Kallista, forthcoming)
Speedbooth - Glintan (Spillage Fete, 2019)
Call Back the Giants - Strange Worlds (Kye, 2011)
Espers - Flowery Noontide (Wichita, 2003)
Index - Yesterday and Today I (Lion Productions, 2010)
Scythe - Harbour Wynd (Romantic Net, 2019)
Ponzi Scheme - Vapour Trails (Ikuisuus, 2019)

NTS Radio - September, 2019

Pre-order available now via imprec.com

Function is an aesthetic exploration of digital audio at an elemental level: a sequence of quantized amplitude values. The entire sonic material in this series are generated through a custom-designed program that takes a mathematical function as input, and based on a set of pre-defined criteria, outputs the function as a digital waveform. Accordingly, each track in this series is named after one mathematical function, where the function itself is used as the only sound-generating engine. These raw sonic materials are then processed through a number of common audio effects, and organized and structured into a compositional form.

Function builds on an ongoing investigation into realization of brutalist aesthetics through sound and audiovisual media. Through a reductionist approach towards its distinctly digital sonic structures, the work embraces the crude limitations of its medium as the primary aesthetic construct. It uses mathematically architected tonal and rhythmic structures to allow for a celebratory exposure of its “anti-beautiful" raw material. In doing so, it projects an uncompromising clarity of structure, a conscious negation of interpolation, and a steadfast refusal to hide the machine’s footprint.

Mo H. Zareei aka mHz is an Iranian electronic musician, sound artist, and researcher, based in Wellington, New Zealand. Using custom-built software and hardware, his experiments with sound cover a wide range from electronic compositions to kinetic sound-sculptures and audiovisual installations. Regardless of the medium, Zareei’s work aims to highlight the beauty in the basics of sound and light production and reductionist audiovisual elements that draw inspiration from physical and architectural principles. Over the course of his PhD, he developed a portfolio of works focused on the intersections of sound art and Brutalism. His “Brutalist Noise Ensemble” has been featured on platforms such as Creative Applications, Streaming Museum, and Fast Co.

Zareei has presented his work at international venues and festivals such as SETxCTM Festival (Tehran), New Zealand Festival (Wellington), the International Symposium on Electronic Art (Vancouver), and New Interfaces for Musical Expression (London), to name a few. His installation "Rasping Music" was the recipient of the 1st prize in Sound Art category of the international Sonic Arts Award 2015 (Italy).

mHz - y = sin(1/x) - from "Function" - Release date: July 3, 2020

Naima Karllson treats us to deep searching improvised recordings on 70s organ and vector synth. Originally recorded in Jan 2020 for an installation by Gery Georgieva at Cubitt Artists in London, Naime later reworked the piece, transmuting the material into '[Vital organs] I. In it, slow winding motifs and melodic washes find their feet in a melancholic dirge. Lines of sound open up and unfurl, revealing over time a fragile inner structure. Like the work of her grandparents, Naime's music is rooted in the soil of the earth but gradually lifts itself skywards, finding solace in both the physical and digital world.

The track is accompanied by a video collage by Naime: "The video is a collage of still and moving found images that journey through the organ track on an internal and universal scale. Taking influence from the title, protection and the body are prominent themes. The images search for fluid interconnections between micro and macro bodies in the physical, digital and astral realms such as far-off stars, cell phone devices, Dogon astronomy drawings, bodies of water and our central heart space." - Naime Karlsson

--

Naima Karlsson - All instrumentation & video collage 

--

50% of the profits of the release will go directly to the Movement for Black Live https://secure.actblue.com/donate/movement-4-black-lives-1


Recorded by Maxwell Sterling
2020

TR037 - Naima Karlsson [Vital Organs]: I. Heart Protector

French composer and multi-instrumentalist Christine Ott returns to Gizeh Records for her fourth album ‘Time to Die’, the sequel to the highly regarded ‘Only Silence Remains’ (2016). 

Info / Listen >> www.gizehrecords.com

‘Time To Die’ is a musical fresco in eight chapters, a sensory journey between the world of the living and the dead, for which the musician weaves a unique dramaturgy between contemporary classical and electro-acoustic music.

The title track picks up the story where ‘Only Silence Remains’ left off ... Like it’s centrepiece; ‘Disaster’, the beloved cinematic text here is read by Casey Brown. Ott seeks to offer strong sensations, without artifice, whether by the power of her compositions on the piano (‘Brumes’, ‘Horizons Fauves’), or by intuitive arrangements mixing her unique practice of Ondes Martenot with a maelstrom of Jupiter8, Monotrons, Timpani and Tubular Bells as on the first track. In addition, Ott captivates us with her harp playing on ‘Chasing Harp’, by her aerial singing on ‘Landscape’, or even on the airwaves on ‘Comma Opening’, which ends a triptych of songs after the versions published on ‘Chimères (pour Ondes Martenot)’ (NAHAL 2020) and on ‘Volutes’ from her side-project Snowdrops (Injazero 2020). These two previous records have been praised by critics, especially in the best records of the year according to The Guardian.

This expressive and spontaneous impetus, leitmotif in her musical production, takes a new form within ‘Time to Die’. Through the notes disseminated in an endlessly reinvented minimalist heritage, the interpretation is the ultimate musical glue allowing the pieces to come to life, thereby making this repertoire and its composer-performer unique. A universe where music - despite the album's title - never dies.

We finally share these few words from the talented American musician and videographer Fredo Viola, with whom Christine has forged long-distance correspondence since the first lockdown. Listening to the record, he wrote her these few words, which he allows us to share here:

"Stunning, terrifying, magnetic, delicate, painful and uncanny... It’s like discovering a bizarre object hanging very low in the sky, something beautiful but unfathomable, just out of reach. The way I see the album is as a series of quite cinematic meditations on the theme of death and dying, changing prismatically, up to that incredibly delicate and beautiful conclusion.” Fredo Viola

PRESSING NOTES
50 — Blue Vinyl + CD - Deluxe edition. Gizeh Store Exclusive. Includes the sheet music for the track 'Miroirs' housed inside a hand-numbered, silkscreened card folder with additional texts from Christine Ott. Heavyweight card sleeve with poly-lined paper inner.

200 — Blue Vinyl - Heavyweight card sleeve with poly-lined paper inner. 

CD — Housed in a six-panel digipak with additional artwork featured on the inner sleeve.

CREDITS
All music composed by Christine Ott
—
Christine Ott — Harp, Vocals, Piano, Ondes Martenot, Jupiter8, Percussions, Timpani, Tubular bells, Monotron, Vibraphone / Mathieu Gabry — Mellotron, Keyboards, Vibraphone, Effects, Processing and Arrangements on 1,4,5,8 / Casey Brown — Spoken Voice on 1
—
Recorded in Serpentine Studio Strasbourg, Conservatoire de Strasbourg & Musée Würth Erstein from 2012 to 2019 / Mixed by Benoit Burger in Spring 2020 / Mastered by Lawrence English / Artwork by Renaud Allirand / Layout by Richard Knox / Limited Numbered Vinyl Edition includes the piano score of "Miroirs", transcribed by Rémi Zeller

Time to Die

Christine Ott - Time to Die

When ACL first started producing mixes, I knew that I didn’t just want to invite artists and labels. We’ve always imagined ACL as a part of a broader community. As such I’ve often invited mixes from amateurs, from listeners and fellow critics. This mix is one of those. 

We have another special guest mix from Philippe Requena. We have previous featured two mixes from him, Venant le jour and Water Be My Road Now. As on those mixes, Requena moves in a post-genre sonic world, drawing unexpected connections between disparate selections.

You can follow Phillipe Requena on his Bandcamp: https://bandcamp.com/requena


TRACKLIST

1. KMRU - Well
2. Innesti - Moving The Stars
3. Fovea Hex - Don’t These Windows Open ?
4. Fabiano Da Nascimiento - Ilhas
5. Biosphere - Tranoy Lighthouse
6. Meredith Monk - Unison
7. Plod - Aptaxi
8. Moses Sumney - Lucky Me
9. Rhythm & Sound - What A Mistry Version
10. Sarah Davachi - The Pelican
11. Roméo Poirier - Le bématiste
12. Steven M. Halliday - Für Alina Pt 3
13. Arvo Pärt - Even If I Lose Everything
14. Virginia Astley - With My Eyes Wide Opened I’m Dreaming
15. Christine Ott - Comma
16. Hilary Woods - There Is No Moon
17. Golden Retriever & Chuck Johnson - Lupine
18. Léo Ferré - Les Romantiques (Loop)

Paysages, encore

Phillipe Requena presents 'Paysages, encore' [mix]

Luke Fowler - Everything Is Permitted(5/3/21)

Appropriating their name from the first culture of the old world to explore the new, Phoenecia, aka Josh Kay & Romulo Del Castillo, was inaugurated in Miami in 1997. The pair had previously recorded under the Soul Oddity moniker, releasing an album & a series of 12-inch singles for the US major label Astralwerks. In late 1996 they founded Schematic Music Company, a record label which would go on to carve a distinct niche in the landscape of modern music by debuting releases from some of the most notable & influential electronic musicians of the twentieth century. In 2001 they released a full-length album entitled Brownout, which in the words of the late Tim Haslett was "Phoenecia's magnum opus, the place where the ideas found in the preceding records are allowed to come to full fruition... the compositions are cinematic, in the respect that the tracks are heavily influenced by the sound design of film, as opposed to the score". This album marked a decisive break from Phoenecia's rhythmic past & set the trajectory for the sound they would continue to develop over the next decade in their most recent albums Echelon Mall & Demissions.

Two-Part Invention For Bodhran & Computer

phoenecia