TR138 - Maya Dunietz - Mamutaz Marker 14

A new track by Mocongo & me exploring the deep side of progressive house and minimal. Subtle grooves, spacious sound design, and a versatile energy that works both as a floor-starter and a journey track.

Mocongo & Monk - Riders

transcriptase

Ein hochenergetischer Tropical House Track, der dich in die Euphorie sommerlicher Festival-Nächte entführt. Verliere dich im Moment, wo pulsierende Beats auf elektrisierende Soundscapes treffen.

🎧 KI-Kunst-Projekt | Stephan Herzhauser


In drifting time

Vormaks II

Ecker & Meulyzer “Carbon” (SUB033)

Digital & CD: https://eckermeulyzer.bandcamp.com/album/carbon

Koenraad Ecker and Frederik Meulyzer make their Subtext debut with Carbon. 

Based on field recordings made at Norway’s Svalbard Global Seed Vault, a secure seed bank located on the island of Spitsbergen, Carbon grapples with the many contradictions that lie at the heart of our shift into the capitalocene. The project began in 2017, when Ecker and Meulyzer scored the performance “Frozen Songs,” a commission by Zero Visibility Dance Company led by Ina Christel Johannesen.

The Svalbard Global Seed Vault was conceived of as an effort to preserve copies of seeds from key crop varieties, ensuring their persistence in the event of large-scale crises. Yet the area is warming faster than anywhere else on earth, causing the permafrost to melt and putting the seed vault at risk. 

Across from the Seed Vault lie the decrepit remnants of Svalbard’s mining activities of the early 20th century; Carbon wrestles with the incongruities nestled in the town’s landscape. Reflecting on dissonances of stasis and change, closeness and distance, enclosure and expanse, as well as cynicism and hope, Ecker and Meulyzer consider the urgency of our situation while trying to sidestep all-too popular depictions of dystopia. In Ecker’s own words, “we don’t have the luxury to afford that kind of pessimism.” 

From close, supple sounds to cold, brutal sonics, Carbon meditates on the many challenging questions and contradictions raised by the Seed Vault and its surroundings—a landscape that embodies and makes visible the many intertwined phenomena that shape our current predicament.

Ecker and Meulyzer, formerly known as Stray Dogs, have released works such as Wasteland, recorded in deconsecrated church in Antwerp, and Kalkar, recorded in the cooling tower of a former power station in Germany. 

Koenraad Ecker works in the fields of electro-acoustic music, field recording, radio plays, stage performance and text. Together with Andrea Taeggi, he is part of the Opal Tapes-affiliated duo Lumisokea. His output encompasses studio albums, audiovisual installations, texts, performances, and sound design for film. 

Frederik Meulyzer is a percussionist active in projects including Belgian jazz band Hamster Axis of the One-Click Panther, contemporary music and theatre company Post uit Hessdalen, and experimental psych-krautrock band Slumberland.

The ecological impact of the production of this record will be compensated through a carbon offsetting program .

Bandcamp

Ecker & Meulyzer - Growth

cramp

Master Victor Outters
Artwork Marilou Gosselin

yab / yvanko - Necton

Track from:
Simon Whetham "Forced to Repeat Myself" CD

“When performing with a limited set of resources, through choices in materials to work with and the constraints of being nomadic, there can be a tendency to repeat actions and scenes that 'work', even when improvising and having to respond to each new situation in a unique way.”

One characteristic aspect of the touring experience that is not discussed often enough is the dilemma of repetition. Not repetition as a mechanism of the work itself, but as a tedious consequence of being obligated to perform night after night in quick succession. Generating a completely unique performance for each stop, even with the assistance of improvisation,  is a laborious undertaking that consumes too much time and sanity, while adhering to a rigid set of rules leaves one open to both burnout and diminishing returns. Is there a way to split the difference so that both performer and audience are always engaged to the highest standard?

“I set these constraints on myself. The need to produce something (at least a little) different in each event of a tour was fierce, especially when traveling with other musicians.”

Explicitly within the title itself of his latest CD, Forced To Repeat Myself, UK sound artist and composer Simon Whetham tackles these questions with both a sly wit and sincere inquisitiveness. The tracks, all collected from recordings documenting a 2018 tour, utilize analogous source material and means of execution.  Whetham paid particular attention to the contour and character of each venue when deciding how to best put the pieces together, offering a customization that subverts pure deja vu for a sharp observance of the unfamiliar.

“In each situation objects and materials unique to the space were incorporated into the performance setup and structure, generating sounds or resonating with them. And yet I could hear similar scenes, movements, even spaces. This repetition determined the dynamic of the composition, working with it and against it.”

By the very nature of their disseminating sparseness, the tracks of Forced To Repeat Myself demand from the listener an attentiveness fixed on nuance and variation. The amplified cracks and static of ethereal currents and anonymous electronics infer the works of others who’ve made it their mission to attune our attention toward sounds outside our natural perception, including Christina Kubisch’s electrical walks, Toshimaru Nakamura’s no-input mixer excursions, and Jason Zeh’s experiments with blank tapes and the mechanizations of his cassette players. Whetham’s shaping of the album’s source material to highlight certain exclusivities of each live performance emphasizes how the inherent dynamics of time and chance guide his self-imposed constraints into pathbreaking spectrums. 

“The title references a phrase many of us will have heard in our formative years, ’Why do you force me to repeat myself?’ I have no answer to this question. I never forced anyone to do anything. But with this work, I did.”

One inherent paradox of Forced To Repeat Myself is that each listen naturally manifests a distinct, individual experience. The way sounds are received and processed in one instance to the next each forget their own entryway into transcribing meaning from this abstraction. And Whetham is keenly aware of this as the sounds of Forced To Repeat Myself find consistent, unique ways to perpetuate themselves, ensuring any repetition to be delicately understated.

Forced to Repeat Myself

Forced to repeat Myself

Simon Whetham "08-11"

https://colorsquadrecords.bandcamp.com/album/c-o-l-o-r-s-q-u-a-d-0-0-9

C O L O R S Q U A D 0 0 9

Tsuchinoko

Vegpher "minutus" PFCD101 2020.11.11 Release http://www.progressiveform.com

01. Secret feat. Piana
02. A Mind Resort feat. HACO
03. Waiting
04. I am feat. Moskitoo
05. Classical Music
06. Frozen Maze feat. Moskitoo
07. VHF feat. Jessica
08. Velvet Voyager feat. Moskitoo
09. Night Owl
10. Jiff

◆【minutus】紹介文

FilFla、FourColor、minamoなどでも活動するサウンドアーティスト/コンポーザー・杉本佳一によるハイブリッドなビートミュージックプロジェクト《Vegpher》、今年7月にはDAOKOの4thアルバム『anima』に収録の「VOICE」をVegpher名義で作/編曲、そして11月11日に満を持してVegpher待望の3rdアルバム『Minutus』をリリース！

『Minutus』は"Minute"のラテン語、小さな時間の単位という意味の解釈から「その瞬間を音で捉える」と名付けられた本作で最も印象的なアプローチは、様々な肉声をその瞬間瞬間で表現しながら楽曲としての精度を最大限に高めている様であろう。
前作『PLUS』まではインストかつテクノよりのエレクトロニックミュージックをベースにしていたが、本作においてはトラックリストを見ても分かるように4名の女性ボーカリストを6曲で起用、残り4曲のインストゥルメンタル曲においてもカットアップするなどヴォイスを絶妙なアクセントとして多様に配置しているところが素晴らしい。

アルバムのオープニングを飾る「Secret」はPianaの物憂げな声を見事にプロデュースしたVegpherの手腕が光る。
30年近くに渡り活動をするHACOを起用した「A Mind Resort」はまさに心のリゾート感に溢れている。
M3「Waiting」においてはYMO的な香りも漂わせた奥深いテイストが心地良い。
FilFlaなどでも活動を共にするMoskitooをフィーチャーしたM4「I am」M6「Frozen Maze」らではらしいクールさが一層際立つ。
そしてユニットNgatariとしても活動するJessicaを起用し本作におけるハイライトの１つとも言える「VHF」はその美しい歌声と呼応するマイナー調の展開が深く心に刻まれる。

リズニングを大切にしつつも随所で垣間見えるプロフェッショナルのプロダクション。誰の心にも色濃く残るこの2020年の最後を彩る最高な1枚と言える内容に仕上がっている。


◆【minutus】クレジット

All Tracks Produced & Composed by Keiichi Sugimoto

M1: Lyric, Co-Composed and Vocal by Piana
M2: Lyric, Co-Composed and Vocal by HACO
M4, M6: Lyric, Co-Composed and Vocal by Moskitoo
M7: Voice Materials by Jessica
M8: Voice Materials by Moskitoo

Mastered by KASHIWA Daisuke at Studio FLAT

Photography by Mai Komura
Design by Takaramahaya

www.vegpher.com


【プロフィール】 Vegpher

FilFla、FourColorなどでも活動するサウンドアーティスト／コンポーザー杉本 佳一によるハイブリッドなビートミュージックプロジェクト《Vegpher》。リズムのインパクトと快楽的な低音のシークエンスに主眼を置いた空間的でバウンシーなダンスミュージックを志向する。
杉本の作品はそれぞれのサウンドプロジェクトにおいて、ニューヨークの12kやapestaartje、ドイツのTOM LAB、日本のHEADZなど国内外の音楽レーベルから多数リリースされており、1999年のFourColorとしてのアルバムリリース以降、ドイツのtomlab、ニューヨークの12k、日本のHEADZなど国内外のレーベルから28枚のアルバム・EP作品をリリース、関連作品は80タイトル以上に及ぶ。作品は英『THE WIRE』誌ベスト・エレクトロニカ・アルバムに選出されるなど海外でも高い評価を得ており、これまでにヨーロッパ各国をはじめアジア、オーストラリア、北米・カナダでライブパフォーマンスを行うなどグローバルな活動を続けている。
また、広告音楽の作曲家として、CM、舞台、映画、エキシビジョンなどの楽曲制作や劇伴を手がけ、音楽で参加した作品がカンヌ映画祭「若い視点賞」、フランス・エクスアンプロヴァンス映画祭「オリジナル映画音楽部門賞」、Design for Asia Award 2010 Gold Awardなどの受賞歴を持つ。映画音楽の受賞をきっかけに2007年フランス映画音楽作曲家協会(U.C.M.F)会員へ登録される。
2019年はFilFlaのアルバム『micro carnival』をHEADZからリリース。2020年、5月に12Kよりminamo & moskitoo『Superstition』を、7月にminamo『Superscience』をリリース、またDAOKOの4thアルバム『anima』1曲目に収録の「VOICE」をVegpherが作曲／編曲する。そして11月11日、前作『PLUS』に続くVegpher名義での3rdアルバム『minutus』をリリースする。
http://www.vegpher.com/
http://frolicfon.com/


発売日　　　： 2020年11月11日(水曜日)
アーティスト： Vegpher（ベグファー）
タイトル　　： Minutus（ミヌータス）
発売元　　　： PROGRESSIVE FOrM
販売元　　　： ULTRA-VYBE, INC.
規格番号　  ： PFCD101
価格（CD）　： 税抜本体価格￥2,200
収録曲数　　： 10曲
JAN 　　　　： 4526180540106
https://www.amazon.co.jp/dp/B08J5HVV48/
https://tower.jp/item/5102792/minutus

Minutus

amazon

Vegpher "Jiff" from "Minutus" PFCD101

http://www.progressiveform.com
https://pform.thebase.in/
https://progressiveform.bandcamp.com/