Name: Nold by phonophani
Duration: 7 min 26 s
Description: Some tracks from the newest phonophani album

Contemplative & Timeless deep love track 🖤💙🖤

why do I know this song ! I've already heard it, but where ! I can't figure, but still great RE discover ! totally love it ! It's true art ! thanks a lot phonophani

This is so fucking sad and beautiful at the same time!

Artwork By, Photography By – Catherine Millet
Guitar – Manuel Rodriguez
Lyrics By, Music By – Fazil Kezal
Mixed By – René Ameline
Programmed By [E-mu Iii, E-max, Pro 24, Atari] – Fazil Kezal

"E'Châabi" Fazil Kezal (1987)

Collage recorded with vinyl and CD´s at Dueloftet, Berlin, 2017

Au revoir  -  September, 2017

A radioplay by Kristin Taarnesvik and Espen Sommer Eide

A Trial Of Weeds V2.0

L/F/D/M - ANT HILLS
PINO DONAGGIO - TELESCOPE
ANOTHER VIEW - YOU TYPEWRITER
CROATIAN AMOR - ANY LIFE YOU WANT
TUSCO (PIERO UMILIANI) - BATTICUORE
G.H. - YORKSHIRE FOR
DAVID CROSBY - I'D SWEAR THERE WAS SOMEBODY HERE
MARIE DAVIDSON - NAIVE TO THE BONE
YVES TUMOR - PERDITION
MEKONS - WHERE WERE YOU?
SIZIKE - BE BOP A LULA
NOVO LINE - THE MOVEMENT 1 (PYTHAGORAS 4)
NOT WAVING - UNTITLED
N.O.I.A - DO YOU WANNA DANCE (REMIX)
SAM KIDEL - DISRUPTIVE MUZAK (EXCERPT)
PROSTITUTES - HOT KEY MOTHERFUCKER
A.H. - LYSERGIC ACID DIETHYLAMIDE
NOCTURNAL EMISSIONS - EVEN THE GOOD TIMES ARE BAD
THE TAPES - DOUBTS
EXTERMINADOR - NOBLE TRAIN
ANDREW NAHMEN - INSULT
KEITH LEBLANC - THESE SOUNDS
PEDER MANNERFELT - REQUEST LINE
NOT WAVING - UNTITLED
SUICIDE - SURRENDER

01_01.12.16

Some tracks from the newest phonophani album

Nold

Daily podcasts from Lofoten Sound Art Symposium

DAY 3: LISTEN BACK Lofoten Sound Art Symposium

Composer, saxophonist and founder of Immix Ensemble, Daniel Thorne,  has announced his invigorating and powerful debut solo album 'Lines of Sight' with the dizzying first track 'From Inside, Looking Out'.

Deeply moving, full of otherworldly beauty and rapture, the album is alive, throbbing like a circulatory system, colourful and glowing. It literally dazzles – effectively capturing what the birth (or death) of a planet might sound like. 

In Daniel’s own words, “Thematically, this music was inspired by birds-eye aerial images and the idea of perspective - how something incredibly complex like a river or the surface of the ocean is reduced to a simple line or shape when viewed from the heavens. The line between natural and man-made becomes increasingly blurred.”

Every strand is fresh, vital and purposeful. The description ‘seamless’ might suggest a smooth, bland fusion, but here elements overlap in intermittent, undulating layers of mesh. Avant-garde, noise, electronics, ecclesiastical, classical and a touch of jazz come together, each occupying their own space while acquiescing with the whole. 

“Several compositions are derived from ratios and processes, and are 
Lines of Sight follows Thorne’s work as artistic director of the acclaimed, collaboration-focussed group Immix Ensemble. Together with experimental electronic artist Vessel, he co-wrote Transition released on Erased Tapes in 2016, described by BBC Radio 6’s Mary Anne Hobbs as “a remarkable new piece of music”. More recently, he worked with acclaimed modular synth wizard Luke Abbott, to create a four-part suite, which was premiered live in June 2017. Immix Ensemble have also performed special live commissions with Kelly Lee Owens, Dialect, Jane Weaver and Bill Ryder-Jones, among others. 

After a first solo performance at Sea Change Festival 2018, the new year will see Daniel tour across Europe, promoting the forthcoming release of Lines of Sight.

European Tour Dates:
13.2. Rotondes — Luxembourg, LU (with Daniel Brandt)
14.2. Melkweg ­— Amsterdam, NL (with Daniel Brandt)
15.2. Doornroosje — Nijmegen, NL (with Daniel Brandt)
16.2. Botanique — Brussels, BE - (with Daniel Brandt)
26.2. Corsica Studios — London, UK (with Daniel Brandt)
10.4. 24 Kitchen Street — Liverpool, UK (with Terry Riley & Gyan Riley)

Lines of Sight

Buy LP/CD/DL

Daniel Thorne - From Inside, Looking Out

the woven road II

A sago beetle mouth harp from 1960s Papua New Guinea; beautiful night recordings from the forests of old Borneo ca. 1950s; a rare pareret orchestra from Bali; vintage Thai shadow music & Malaysian pop; amazing recordings made off the radio in India; a stunning field recording of what the Amazon, Gran Chaco & Patanal sounded like in the 1950s; and some great psychedelic chicha from Peru.

PLAYLIST
“Live Beetle Jew’s Harp,” Mahisu. Recorded by Robert MacLennan [Papua New Guinea, 1963] 
“Joueur de Sampey.” Recorded by Guy Piazzini [Borneo, ca. 1956-1957]
“Joueuses de Lotong” [Borneo, ca. 1956-1957]. Recorded by Guy Piazzini.
“Kapeng Dateng” [Borneo 1953-1954]. Recorded by Pierre Ivanoff. 
“Pinakang” [Borneo, ca. 1970s]. Recorded by Guy Saint-Clair. 
“Sewagati (Bersama),” Suling Pereret [Indonesia, Year Unknown]
“Jew's Harp (Juring Rangguin) of the Temiar.” Recorded by Hans Oesch [Malaysia, 1963)
“Pone Tala Pone,” P.M. 7/Jupiter [Thailand, year unknown]
“Sakura,” D'Venus [Malaysia 1968]
“Jog,” Zia Mohiuddin Dagar [India, ca. 1996-1997]
“Sote Sote Aadhi Raat,” Salma Agha [India, 1983]
“Psychedelia,” X'lents [India, 1970/1971]
Excerpts from Radio India, Alan Bishop
“Animaux Sauvages d’Amerique du Sud (excerpts). Recorded by Richard Chapelle [South America, 1963-1975]
“Chinito en onda,” Los Mirlos [Peru, 1974]
“El sabor de mi selva,” Grupo Selva [Peru, 1970s]
“Bola bola en el tres,” Los Wemblers de Iquito [Peru, 1970s]

Stranger Things (RIAFC 014)

An album and a building

From November 2019 to February 2020 Espen Sommer Eide is presenting his new sound exhibition ‘The Waves’ at Marres in Maastricht. The idea from the beginning was to make both a spatial album as well as material for the exhibition. 
In the year preceding the sound exhibition, Sommer Eide recorded the album with help of several artists and musicians, and with instruments that were especially designed for this project. The pieces cause a collective stream-of-consciousness that make the spaces, architecture, and history of the house tangible. Following the shadows of the musicians, the audience experience a musical journey that transports them from one room to the next. They hear sequences, melodies and rhythms where the voices and perspectives of the performers are multiplied and heard from many angles at once, as in an imaginary hall of sound mirrors. A music that highlight the building itself as container for possible worlds, unobserved, unoccupied by any particular subject.

Espen’s thoughts about The Waves
Growing up in a small town, like I did in Tromsø in northern Norway, you had few possibilities to have alternative music experiences live. The transformative experiences had to come from obscure records and copies of cassettes and mixtapes one by accident got hold of. Well, not completely by accident, but through a kind of underground network of music that existed at the time. Like David Grubbs writes in his essay ‘Records ruin the landscape’ there was often a shroud of mystery around these recordings – often the simple mystery of how someone actually could have released something so impenetrable and weird in the first place. The mystery could only be solved through repeated listening. Repetition becomes a central part of the listening. You don’t have to get everything the first time you hear it, like you have to while listening to a live improvisation for instance. Listening to an album at home or on headphones somewhere, you can choose your amount of concentrated attention. This is the unique strength of the recording, and of the album as a format. It creates a kind of diffuse listening that opens up for many alternative experiences in parallel, and that reaches beyond the work itself and is mixed with the daily activity and the memories of the listeners personal life.

Virginia Woolf’s novel The Waves is an important source of inspiration. The Bloomsbury group, inspired by philosophers like Bertrand Russell and Alfred North Whitehead, were interested in exploring the question what the world would be without humans, that is, without anybody seeing or hearing it. Stream of consciousness is important for me as a belief in multiple simultaneous perspectives, parallel stories and inner and outer monologues. You find in the circle around Woolf the immense influence of the new electromagnetic wave theories, that suggest that the world is one enormous entanglement of events and people. It was also a time where scientific experiments were inseparable from performative art works. Huge crowds would come to witness the scientist Helmholtz do an acoustic experiment with tuning forks transmitting sympathetic resonance. In The Waves, you don’t exactly know where the voices are coming from or who is speaking.

The text collage with quotes mostly from Woolf, and a few from Whitehead and Russel, is not here to convey a particular message, but to be the raw material for our improvisations and permutations. The sound of words constitutes a layer of meaning that surrounds us all the time. It creates small misunderstandings or "mis-hearings" and propels our conversations forward often without us being aware of it. This soundscape of language is to me like very old music. A band that has been on tour forever.

Espen Sommer Eide: Slaapkamer from upcoming album The Waves

Spend some time in 2020 
not worrying

when you wake up
or if youre going to sleep

Nold

phonophani

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