HHH label is a series of releases coming from a musical and visual research residency called Hitchhiker. 
ⒽⒽⒽ residencies was created by Encastrable, a visual art duo who is part of Carpaccio team.
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The guest artist for the 4 th episode is @hadji-hajj who is a video maker and producer from Lyon. He is also the boss of Dawn records and one owner of the infamous Schnell records .
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The 2 other tracks are from @destroyed-temple who is the Swiss knife and producer from CC crew
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The idea of HHH is simple: to invite an artist for a road trip by car, van or camping car, to produce music.
It's a great excuse to look for and create new forms with the guest artist.
Each artist is invited to make field recordings during the trip in order to compose tracks. For this one, the travel was between Le Puy de Dôme, Le Limousin and Corrèze. 
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You can also listen to the more complete experience of this road trip on @lyl_radio called "HHH drift recording"
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also in the car for visual settings Antoine Lejolivet and @chagonzalez
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we really want to say thank you for they hospitality and sharing to Gwen Bouget, Hervé Priou and Marine Froeliger <3
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visual by Florent Hadjinazarian
Encastrable project: Antoine Lejolivet & Paul Souviron
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Thanks to , La Region Grand Est, Impuls neue musik & LYL Radio for there support

Buyyy

Hajj - DEATH TO ETERNITY [HHH label #004]

Pan Daijing - Jade 玉观音
Format: LP / DL
Cat.No. PAN 113
Release Date: 4 June 2021
Purchase: pan.lnk.to/Jade

What if a song was not a culmination but a singe, an imprint, or a crater left in the wake of creative process? On her new record “Jade”, Pan Daijing composes at a different scale than that we’ve come to know. Since the release of her groundbreaking LP “Lack” in 2017, Daijing has expanded her operatic vision into a series of major commissioned exhibition-performances at institutions including the Tate Modern, Martin Gropius Bau, and the Haus der Kulturen der Welt. Developed for full casts of opera singers and dancers, and reaching for an all-encompassing durational experience of intensity for both performer and audience, the development of these works was for Daijing as emotionally disarming as it was thrilling. In order to continue accessing her own limits, Daijing had to develop a place of sanctuary within her own practice.

Its nine tracks written and recorded over the last three years, “Jade” is the sound of solitary release and refuge, of creative self-sustenance. Written without the imperatives of direct address to performers or audience, “Jade” speaks inward, while inviting a kind of rhetorical listening. The artist draws on materials familiar from her previous work: namely, ascetic electronic textures that rumble and pierce, and voice bent in irreverent directions. In place of catharsis, however, her arrangements here linger in tension, extending curiosity towards the delicate void that nourishes extremes. They toy with the minor capacities of song: repetition, chant, observations that conclude without resolving.

“Jade” comes from a vulnerable place, tender as in an undressed wound caught in the midst of healing over. Vocals, mostly Daijing’s own, arrive as wordless sequences of notes soaring alongside a drone, or plain laughter, or in a few places spoken word. What is said or sung provides fragments of experience and reflection. In the process of piecing together these fragments, the listener is confronted with the tender parts of her own. “Solitude is like an immense lake you’re swimming through,” says Daijing of these songs. “Sometimes you dip your head in and sometimes you lift it above. On album centerpiece “Let,” she speaks to us over the sound of rippling water, returning between anxious scenes to a refrain: “I take my bath in the ocean.” We are not just consuming Daijing’s story; we are being invited to join her in the water.

The album is mixed and mastered by Rashad Becker, featuring artwork by Pan Daijing, cinematography by Dzhovani & design by NMR.

@pan-daijing

Jade 玉观音

Pan Daijing - Metal 八月 (PAN 113)

6G is the child of a hollow moon, unwritten histories of permaculture deities in the levant, pagan conspiracies about haunted birthrights, texts buried in lunatic obscurity, communication with the evil smile of a goddess, bells designed to be wrung three times in the night, childish blood games, farmers with occult crops.

The duo of Oxhy and Susu Laroche have chosen the name The Fertile Crescent, evoking one of the cradles of human civilization as much as a (un)healthy devotion to the power of the lunar cycle. Musically, it reeks of post-industrial folklore ripe with solemn tones and conflicting bits, combined via the mocking dream logic of a trickster spirit. A skeletal presence of melody in a sparse, ceremonial ambiance that can even welcome thunderous rolls of breakbeat, like tapping from the energy of every ritual that has scarred the land in time. Following the record is like attempting at drawing a psychic topography of those same rituals, manifestations, tragedies and games, it’s like mistaking the broadband network for the Ley lines but still succeeding in conquering its occult power.

Written & Produced by the fertile crescent
Mastered by Tapewave

All profits go to: www.islamic-relief.org.uk/afghanistan-emergency-appeal/

https://soundcloud.com/oxhy
https://soundcloud.com/tsvsvnami

the fertile crescent - ripping time

Pan Daijing - Tissues 
Label: PAN
Cat.No. PAN 118
Format: 2xLP / DL
Release Date: 21 January 2022
Purchase: pan.lnk.to/Tissues

Pan Daijing’s exhibition-performance Tissues premiered in the Tanks at the Tate Modern in autumn 2019. A five-part immersion in performance, sound, movement, space, and most of all emotion in its most distilled and conflicted states, Tissues engaged with the conventions of opera and tragedy to present a searing representation of the embattled human psyche in space and time. While the ambitious multi-sensory artwork made use of the range of Daijing’s artistic capabilities, music, particularly the voice, was at its formal and emotional core. The vinyl and digital release of Tissues on PAN serves as a record of that work, in the form of an hour-long, studio-recorded audio excerpt: an invaluable archival document from Daijing’s practice.  
 
Tissues is both a solitary work and a formal study in relation. Composed, directed, designed, written, and performed by Daijing (alongside a cast of twelve dancers and opera singers), the work—its libretto written in a mixture of old and modern Chinese—lingers inside a single human perspective. Daijing conjures states that are by turns delicate and severe, the tension between opposing modes animating the work as it unfolds. And yet, for all its interiority, Tissues foregrounds an intimate relationship with its audience through details like its engulfing visual landscape and its rattling, confrontational narrative arcs. Daijing uses the opera form as a prism through which to question the boundaries of music itself: perhaps, she proposes, music is much more than simply what is heard. It is in the relationship between voice and electronics that this limit is most clearly breached. Across the four parts gathered in this documentation, a counter-tenor, a soprano, a mezzo-soprano, and the artist herself voice a mixture of stunning laments and cries over an instrumental landscape, built out from industrial texture. Meant to be heard in a single listen, rather than track by track, the work unfolds through tender hollows and agitated peaks. At its crescendo, the operatic vocals melt away and the synthesizers themselves seem to howl with grief.
 
Daijing uncovers an essential, sometimes painful, music in all that surrounds us, inviting something like catharsis but also a greater understanding of the thing she and her cast conjure and draw close. A tissue, after all, is both a disposable object one uses to wipe away a tear, and the building block of our fleshy human forms. Daijing reaches and excavates the roiling core of what it is to be alive and full of feeling. 

Music from Tissues, an opera of five acts at Tate Modern, London on Oct 2nd, 4th and 5th, 2019
Composed, written, produced and directed by Pan Daijing. 

Performed by Anna Davidson, soprano ; Marie Gailey, mezzo soprano, Steve Katona, countertenor and Pan Daijing,  additional vocals.
The recording is mixed by James Ginzburg , Jan Urbiks and Pan Daijing, mastered by Rashad Becker. 

@pan-daijing

Tissues

Pan Dajing - Excerpt from Tissues Part Two "A Found Lament"(PAN 118)

Dominic Coppola & Angelo Harmsworth - Appollonia

“Beware, intruder. 
The Guardian stirs. 
Its eyes glow in the darkness, 
and its claws hunger for flesh. 
Turn back now, 
or become its prey.”

The Forest Beast [Scp-860-2 Fansong]

Life

"I Could Go Anywhere But Again I Go With You"

I Pray For Deliverance, The Size Of My Desires

For this compilation, original recordings and stems of “The Idealist”, a song on Soho Rezanejad’s recent full-length album Six Archetypes, were sent to friends and collaborators. What resulted are 25 wildly variant remixes by a community of artists.

The Idealist Compilation:
https://siliconerecords.bandcamp.com/album/the-idealist-compilation

The Idealist music video:
https://youtu.be/A8bn3zPrzrs

“The Idealist Compilation” by Various Artists was mastered by Miccel Mohr and released on Silicone Records, 2018.

The Idealist Compilation

SKY H1 & Soho Rezanejad - The Idealist

Heith - Tree Stand

oqbqbo & Scandinavian Star “Airdrops / Coercion” 


A digital postcard from oqbqbo & Scandinavian Star from their home in Copenhagen. 

Two collaborative tracks sent with best wishes. We hope that they find you safe and well in these strange and troubling times. 


Posh Isolation 234

I Pray For Deliverance, The Size Of My Desires

Puce Mary

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