Taken from the upcoming album 'Watering a Fake Flower'.

..........

Open to the Sea are Enrico Coniglio & Matteo Uggeri...

Enrico Coniglio: piano, organ, Yamaha TX7
Matteo Uggeri: rhythms, field recordings, samples, sort of backing vocals

with:

Mattia Costa: drums
Alessandro Sesana: trumpet
Andrea Serrapiglio: cello, drones

Recorded by Enrico Coniglio and Matteo Uggeri in Venice and Milan.
Drums recorded by Gianmaria Aprile at Argolab, Varese.
Cello recorded by Andrea Serrapiglio.
Additional VOG treatments on “I Can Hear…” by Gianmaria Aprile.

Mixed and produced by Matteo Uggeri
Mastered by Ian Hawgood
Artwork by Daniel Crossley

www.fluidaudio.co.uk

Watering a Fake Flower

Open to the Sea - If One Moment Could Be My Entire Life (Pt 1 & II)

Track taken from the upcoming album 'Objects & Apparitions'...

- All tracks written / played by Gideon Wolf except *track 10 (In the Wake) Cello part played by Tom Spencer

- Mastering by Ian Hawgood

- Design by Daniel Crossley

Objects & Apparitions

Gideon Wolf - With Eyes Closed

“Companion” is the title track of Otto A Totlands final album in his trilogy of personal, sparse piano compositions, following “Pinô” and “The Lost”. It´s a first glimpse into a new series of fourteen melancholic pieces by the Norwegian composer. Coming November 26th on Sonic Pieces.

Otto A Totland - Companion

Corey Fuller: Piano, Electronics
Richard Skelton: Accordion, Strings, Electronics

THESIS 20 - Richard Skelton & Corey Fuller - Iland

Boris Rogowski conceived the idea for The Waste Land in the autumn of 2020, when the world became quiet again after a deceptively easygoing summer. During a walk among the “last fingers of leaf” he revisited in his mind the landscape of T.S. Eliot’s enigmatic poem The Waste Land, a somber meditation on disillusionment, nostalgia and isolation in the “modern” world of the early 1920s. It had accompanied Rogowski for many years, and knowing entire passages by heart he found that the strange, tuneful lines had left him with a sort of musical map of the Waste Land. What he heard was a string quartet playing amid a stream of dissolving, permanently mutating sounds, seeking hold, losing it, coming up for air again. The music he envisioned melded contradictions into a cohesive whole, was strange yet universally accessible and – just like Eliot’s poem – an expression both of sorrow for a lost world and hope for a new beginning, deep admiration for classical tradition and disgust at the snobbery and ignorance of an elitist class trying to keep it under lock and key.

The even quieter winter months found Rogowski working long days and nights on the score, putting the music in his head to paper. Also, he quested for the sounds that would be able to represent the stream of synthetic memories that in his vision rolled through the music like the river Thames through the central portion of the poem—and found that they were already there, right in front of him: In the early days of the pandemic he and his friend and studio co-owner Bazzazian had harnessed the halt of everyday life to create a library of sounds that embodied their very own idea of style. For this purpose, they had sent their recordings of acoustic and electronic instruments through a specially devised processing chain, giving them an evocative, strangely timeless quality. It was only logical that those sounds would form the foundation of The Waste Land.

Later, in the spring of 2021, other musicians brought in their unique voices: Moishe Lichtfuss [flute, tenor sax] added his woodwind textures to many of the compositions, most notably on “The Sound of Horns and Motors”. Claus Schulte [drums] made a brief, yet crucial appearance on the centerpiece “The Violet Hour”. At last, the Waste Land String Quartet (Alexander Sachs and Irina Borissova [violins], Anna Krimm [viola] and Michael Preuß [cello]) recorded their parts under the baton of fellow composer David Menke who also played the solo piano on the brooding “In Rats’ Alley”.

The Waste Land is a unique musical cosmos that nonetheless touches upon many reference points, among them the minimalist music of composers like Michael Nyman and Philip Glass, Post Rock of bands like Tortoise or Swans and contemporary Experimental and Ambient works like those of KMRU, Christina Vantzou or Tim Hecker. Like Eliot’s poem, it contains a multitude of voices and fuses them to a music very much its own. The album begins with a wash of piano that carries splendor and melancholia in equal measures and ends with the pointillistic rhythm of Morse code spelling out the final words of The Waste Land, “Shantih shantih shantih”—peace.

In 2022, T.S. Eliot’s poem will celebrate its 100th anniversary. Its central themes—solitude, estrangement and a wounded world with an alarmingly uncertain future—are even more pressing today than they were 100 years ago. Boris Rogowski’s soundscapes embody the mood perfectly: The fear and darkness as much as the faint, yet stubborn hope for the light of a new day.

Boris Rogowski - Marie Marie

Matthew Robert Cooper has been releasing music as Eluvium on Temporary Residence Ltd since his debut in 2003. So, yes, I have been listening to his music for 20 years now. In fact, I interviewed this Portland-based composer about a decade ago [I think we’re due for a revisit, don’t you think?], and Matt has graciously contributed a track to Volume 3 of For Ukraine benefit compilation, curated by Rafael Anton Irisarri. Eluvium’s music defies categorization, but fans of ambient, contemporary classical, and solo piano will surely recognize his name. Some may be lucky enough to be in possession of his massive boxset, Life Through Bombardment Vol. 2. In the last few years, Eluvium has released Shuffle Drones (2017), Pianoworks (2019) and two volumes of Virga (2019 and 2021). These are some great examples in his latest exploration of cross-over genres, slotted, as the titles suggest, somewhere between neo-classical and drone. And yet, for his new release, Eluvium evolves into an orchestral, euphonious work of grand proportions, inviting an entire Budapest Scoring Orchestra, a modular synth and bass clarinet duo known as Golden Retriever, and the celebrated American Contemporary Music Ensemble (ACME), to compose a wide-spanning, concert-hall worthy album, inspired by T.S. Eliot’s The Waste Land and Richard Brautigan’s All Watched Over By Machines Of Loving Grace. I am honoured to premiere a track for you from his latest single, “Phantasia Telephonics,” which hides more than a few secrets, with some of them revealed by Matt in a short write-up on headphonecommute.com

(Whirring Marvels In) Consensus Reality

Phantasia Telephonics

TRACK PREMIERE : Eluvium - Phantasia Telephonics

This morning I am delighted to spend more time with David Poltrock and his music. He is not completely new to my ears, as I have previously enjoyed and covered his piece with Adriaan de Roover, titled "44,2 km". Today I am premiering a track titled "Titanus Giganteus", taken off his upcoming release Aulus I, which, as I hope you can guess from the album title, is part of the diptych of two instrumental works, with the Aulus II coming out later in the year. It seems that we're all mesmerised these days [at least in my circle of musician friends] with sounds originating from strings, piano, tape, and light electronics. But even if the ingredients are all the same, it is the flavour of the dish that is important. In this case [as is the case with all of my previous musings on sound], it is the emotion behind each piece and the composer's ability to communicate and transfer that emotion into mine. It seems so simple, yet it's not. And if the musician truly accomplishes this task, then the ingredients don't matter. It could be just a piano. It could be just strings. It's great when each one has a place in the story. This is what I think about [and what I feel] when I listen to Poltrock's music. And that's the greatest compliment of all. For this piece, which is a rework of his previous original track, "Titanus" (Machines, 2018), Poltrock starts with the lofi piano and brings in the strings performed by Sun*Sun*Sun String Orchestra for a dynamic, intimate and soaring composition that wonderfully conveys the sound on his album as a whole. Beautifully sculpted, executed, and received.

Aulus I

Titanus Giganteus

TRACK PREMIERE : Poltrock - Titanus Giganteus

Tibetan Plateau

Jasmine Guffond - Useful Knowledge

Taken from PERILS - S/T (Pathway010)
PERILS is Benoît Pioulard and Kyle Bobby Dunn.

Mutual admirers of each other’s work, Thomas Meluch (Benoît Pioulard) and Kyle Dunn (Kyle Bobby Dunn) endeavored to put together a collaborative recording that ruminates on painful realities, disappointments, and transitioning to new homes, in the hopes of finding a coping mechanism to bring them through to the other side.
PERILS began auspiciously in 2012 at transitional points in these artists’ lives. Kyle was living in a small town called
Belleville, Ontario trying to complete Kyle Bobby Dunn and The Infinite Sadness (Students of Decay) and coming to grips
with the fact that this great endeavor was at its end. Given the enormity of the record and the emotionally and physically
exhausting process of recording the album, Kyle found himself drained with unforeseen questions and confusions. Working only at night, Kyle immersed himself into this newfound nocturnal work, finding a path in the midst of wondering. Thomas, meanwhile, was in a state of literal transition: uprooting from the UK and relocating to Seattle during the recording process of PERILS. In a state of flux, nearly drowning under the anxieties of living on uncertain ground, Thomas channeled these emotions into musical escapades. Thomas recorded in his spare moments, sending sonic puzzle pieces one by one to Kyle, who would in turn explore the musical sentiments Thomas had shared, adding his own billowing sounds to the seething mix.
The ten pieces created for this release are culled from a poutine- and whisky-fueled trudge through the dark corridors of an as-yet undiscovered or possibly imaginary mystic temple. Commencing with the shimmering guitar and tape loops of “Colours Hide My Face,” the album crawls out of the grooves with a slow-churning turmoil, coaxing the listener to embark along its path. The dirge-like guitar clang and vocals of “(Dead in the) Creekbed Blues” could be an 18th century blues standard emitted from a buried radio. On PERILS, Thomas Meluch and Kyle Bobby Dunn lock arms and together chart the upheaval in their lives to bridge the liminal gulf between the once-was and the soon-to-be.

PERILS - Leveled

out on September 9th at Dronarivm

order here: dronarivm.bandcamp.com/album/the-voy…ch-manuscript

After last year's sophomore release, The Faex Has Decimated, on Tympanik Audio, the Legiac project is back, but this time on the Russian based Dronarivm label, where the new album feels more at home. This time, the electronic duo of Roel Funcken and Cor Bolten take on a more meditative approach to their mildly glitch-infused, modular explored sounds, weaving in ambient textures, field recordings, and vast soundscapes. Titled after an early 15th century hand-written and illustrated codex, named after Wilfrid Voynich, the mysteries within this cryptic album can only be unlocked upon subsequent rotations, offering it up as a soundtrack to an enigmatic place, existing somewhere within imagination of these two prolific artists. The Voynich Manuscript slowly transforms its listener from a seemingly ordinary habitat, to a day-dream haze, to kaleidoscopic illusion - a sonic environment you thirst to visit once again...

all tracks written and produced by Roel Funcken & Cor Bolten
mastered by Jason Corder

Legiac - Ambikythera Mechanism (from The Voynich Manuscript CD)

A relevant spot for artists from all over the world who cross the borders between ambient, electronic, and contemporary classical music.

label@pianoandcoffee.com

Vargkvint / Sergio Díaz De Rojas / Klangriket / Plinki Plonki / Manos Milonakis / Cedric Vermue / Sjors Mans / Justina Jaruševičiūtė / Didacte / Adrien Casalis / Leon den Engelsen

Boris Rogowski - Marie Marie

piano and coffee records

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