Name: Rant #3: Félicia Atkinson by QuaRANTine Choir
Duration: 20 min 49 s
Description: This track entitled "None of the Two Things" is by visual artist, experimental musician, and poet Félicia Atkinson. Félicia’s work deals with topics of deep listening, cut ups, silence, noise, and language and is a combination of improvisation and superimposed composition, as an abstract woven material, where the voice meets electronics, acoustic instruments, and electric distortions.

Taken from the album 'Irreal' released as CD and Digital

Irreal

BJ Nilsen 'Short circuit of the conscious thought' (EMEGO 305)

from KR093:  MimiCof - Distant Symphony
LP / tape / DL out on june 10th 2022

Distant Symphony

MIMICOF - Distant Symphony I (excerpt)

Artist: TOT ONYX
Title: SENNO I
Format: LP / digital
Catalog no: iDEAL203
Edition: 300 black vinyl copies w postcard inlay
Release: NOW

Things that don't exist, that don't seem to exist, or we don't believe exist, might be the only things that actually exist.
Things that i always believed that existed, seem to be an illusion.
And things that i always denied the existence of in the past, seem to be what shape reality and rule the world.
But what is reality? And what is illusion?
Is the reality i am seeing the same as yours?
Perhaps not.

”Senno I” is the solo debut album by Tot Onyx aka Tommi Tokyo, who has been a founding member of the Japanese performance art/live electronics duo group A since 2012. They incorporated the use of the body in their noise & poetry-performances and they made some resonating appearances at festivals like Berlin Atonal. Adept at bending expectations, both live and recorded, the band’s formative early work echoes the experiential vocabulary in which Tommi continues to develop today. A practice in the rejection of tradition and cliché, which in Greil Marcus's words, "Share the principles of negation, rebellion, destruction and détournement”.

Tommi Tokyo has worked in graphic design and photography and has worked for theatre and other forms of stage arts. Tot Onyx is her deeply personal project which shares the founding energies of group A, but is traveling deeper and elsewhere. This is a rich study of her interior life.

Tot Onyx - Voice Calling

"All things that have form eventually decay."

After last year's tenuous offering "Another Fall," Craig Tattersall (A Humble Bee) returns with a new collaborator in tow, Erik Williamson. Together the duo unveil a body of collaborative work titled 'remnants', showcasing a near hour-long offering of unfaltering melancholy, with each piece engulfing the listener in an abyss of tape-laden hiss, while drifting ever so slightly into aimless reverie.

VAK66 | Abandoned Bees - Monuments

Live at Mayhem September 27 2018

Ben Vida
Reducing The Tempo To Zero
SHELTER PRESS / SP108

Recorded 2016-2019 New York
Mastering: Stephan Mathieu
Artwork: Xavier Antin

The theme of time is unavoidable when approaching Ben Vida’s Reducing the Tempo to Zero, his latest endeavour with Shelter Press. A singe work, pushing the bounds of Digital and Analog Synthesis, which stretches to just over 4 hours in length, its realization is the product of years of effort - the process of recording and editing extending across the period between 2015 and 2019, offering momentary conclusion to an arc of ideas and practice which which first appeared on Damaged Particulates, issued in 2016.

RTTTZ is a temporal nesting doll - a meditation, conceived by Vida as a part of a daily practice which embarked upon sustained periods of focused creation and listening. While the product of a deeply personal, inward journey, similar to iconic efforts by composers like Dennis Johnson, La Monte Young, Morton Feldman, and Éliane Radigue, it strives to unravel the standards and expectations applied to musical and experiential time, taking the relation to sonic phenomena into an almost transcendental realm. Immersive in scale and endurance, through a deep and radical sensitivity to material and structural hybridity, Vida’s return to the durational drone based forms - first explored as a member of Town and Country during the mid-90s - drives the ear toward the solace found through developmental and intimate relationships with the fleeting, granular, and discrete, transmogrifying smallest detail into a monumental event.

Despite being the “complete” RTTTZ document, made concrete by the process of recording, this 4+ hour iteration carries the shifting ghosts of other beings and times. It represent only one of many possible, existing beside a free standing phonetic, text-based score, and a near infinite number of evolutionary, live variations - instrumental and vocal versions, as well as those which spring from the combination of instrumental and vocal ensembles of varying sizes, each time of different length, changing and taking on new dimensions determined by the its performers. In a sense, each version is simultaneously free-standing and finished, while capable of reconfiguration and being made anew - a mirror for its shifting passage through the ear, which triggers multiple, concurrent images of other times and existence of itself.

While the duration, structure, and relatively of RTTTZ focuses attention toward the internality of what it is, like all great art, they are simply a means to an end. The crucial themes lay with the cumulative effect of their sum - the power of phenomena and highly individualized experience. It is an organized, sonorous space which is to be occupied and within which to get lost, shifting the ownership, whether embarked upon actively or passively - both as valid and rewarding as the next - to the listener alone, sculpting a subjective expanse which denying concise location and, in so doing, undermines the presumption of the capacity to be the same thing twice.

Overwhelmingly beautiful in its oscillating harmonics and punctuation of pulsing texture and tone, each stage of its evolution moving at a glacial pace, represents a monumental achievement from Vida within the broad landscape of experimental and avant-garde sound. Reducing the Tempo to Zero was mastered by Stephan Mathieu, and is released by Shelter Press in both digital and limited USB card editions.

Reducing The Tempo To Zero

BEN VIDA 'Reducing The Tempo To Zero' (EXTRACT)

März

This track entitled "None of the Two Things" is by visual artist, experimental musician, and poet Félicia Atkinson. Félicia’s work deals with topics of deep listening, cut ups, silence, noise, and language and is a combination of improvisation and superimposed composition, as an abstract woven material, where the voice meets electronics, acoustic instruments, and electric distortions.

Rant #3: Félicia Atkinson

On a rare trip back to his rural Bavarian hometown, producer and sound-artist Florian T M Zeisig was intrigued by a new addition to his parent's house, a vibroacoustic mattress purchased in the hopes of aiding their chronic sleep issues. Driven by a desire to reconnect in adulthood and help them finally find some rest, Zeisig spent the next two years researching vibroacoustic sound therapy, resulting in his third full-length LP 'Music for Parents'.

Building conceptual frameworks around intimate and personal encounters has always been the bedrock of Zeisig's work. His 2020 LP 'Coatcheck' explored emotional, physical and functional experiences of working in nightlife from the perspective of a garderobe attendant, a position he's held at various venues in Berlin over several years. With 'Music for Parents' he turns his attention to themes of sleep and healing, using elements of low-frequency sound therapy to create soothing soundscapes imbued with childhood memories and aspirations for creating better more accepting familial relationships today. While rooted in the personal, the album was made with all those struggling with anxiety, stress and insomnia in mind.

Practically speaking, 'Music for Parents' can be paired with a vibroacoustic mattress or wearable bass device to enhance a listener's experience of the low frequencies. Zeisig will be teaming up with SubPac for a live rendition when gatherings can safely return, and frequently made use of their 'Wearable sub' while composing the record.

'Music for Parents' features cover artwork by his father and will come out on February 2nd, in celebration of the artist's mother's birthday.

Happy 60th Birthday Mom. 

https://metronrecords.bandcamp.com/album/music-for-parents

Music For Parents

Florian T M Zeisig - Dip Pool

https://blackseedacts.bandcamp.com/track/one-hundred-eyes

One Hundred Eyes

Vladislav Delay - Rakka II
Format: LP/DGTL
Cat.No. CR14
Pre-order: http://bit.ly/3dLkry3

In 2020 Cosmo Rhythmatic released ‘Rakka,’ which presented Sasu Ripatti’s glorious return to his most famous alias: Vladislav Delay. Nonetheless, the album contents made it evident that this eventual comeback was not intended as a revival. Ripatti was reactivating the project and a steadfast evolution in its sound, a new approach to both the emotional and environmental characteristics of electronic composition.

The inspiration for this new course was given to Ripatti by a series of ventures into the wilderness of his native Finland, confronting “The raw, undefined, uncontrolled and uncorrupted power that exists within it.” The result is a hyperbolic, extreme ecosystem of sound populated by fast-moving drones, dense clouds on noise, and tectonic bass rumbles with hints of harmony birthed by harsh tonal contrasts. The sheer intensity of the music was only matched by the rigor of its craft.

2021 sees the coming of the second chapter in that very same journey. ‘Rakka II,’ once more on Cosmo Rhythmatic and made of that very same impassioned matter. Tho while on the first one, Ripatti seemed intent to portray the elemental forces as free, unabashed, and unconstrained by musical structures, here he appears to compile some of it in beats and progressions that have something in common with the wildest sides of dance music. It’s like consciousness tuning in with the non-human after struggling with its apparent distance and hostility, accepting its uncoded structures, and finally finding a common language for reconciliation.

As Ripatti puts it, Rakka II is a romantic summer vision full of hope and optimism;  after the brutalist vibes on the first one, the storm has passed and skies are clearing. 
Rakka II is ultimately another masterful achievement in an already stellar career and an unquiet blast of energy for chaotic times.

Vladislav Delay - Rakkn (CR14)

QuaRANTine Choir is a growing compilation of commissioned audio works by an international group of artists from various backgrounds. It is dedicated to the rant as an artistic format, motivated by feminist and queer perspectives. The first edition that ran from June 2nd, 2020, to August 4th, 2020, functioned as a scattered yet collective choir, that was delayed only by time and distance. 
For the Minneapolis Edition, an assorted group of artists, musicians, activists, and poets is invited to individually reflect on current events in and outside of Minneapolis/St. Paul. 
The ten participating artists are asked to play around with whatever ranting and queer/feminist noise means to them and to create a short audio work. Cell phones or other mobile devices serve as recording as well as listening devices. Since each rant departs from the previous rant, the whole series also works as a slowed-down artistic chain reaction.

Starting Tuesday, September 1st, 2020, one new episode of the series will be published weekly on Soundcloud.

Artists Minneapolis Edition: Andrea Jenkins, Maria Isa, Cameron Downey, Madeline Stillwell, Ifrah Mansour, Sarah Petersen, Sarah White, Kimberly Bradley,  and others

Curation & Production: Sandra Teitge with the Goethe-Institut Chicago
Concept: Line Spellenberg & Sandra Teitge

Additional Music: Kolbeinn Hugi
Visuals: Wiley Hoard

Thanks to: Sarah Petersen

***

Artists of the first edition: Nora Turato, Moriah Evans, Félicia Atkinson, Rosaceae, Astrit Ismaili, Hanne Lippard, Fauna, keyon gaskin, Georgia Sagri, and Nguyễn + Transitory

Concept & Production: Line Spellenberg & Sandra Teitge

Supported by: Goethe Institut Chicago & District * School without Center, Berlin
Thanks to: Marcel Bisevic, Manuel Chittka

Rant #3: Félicia Atkinson

QuaRANTine Choir

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