Name: Ben Bondy - The Only Part of You I Ever Really Needed by Quiet Time in Airy Ambient for Sleep: Night Sounds
Duration: 4 min 58 s
Description: Taken from @benbondy 's self-titled cassette, out 4/20/2022 on Quiet Time.

🖤💙🖤Panoramic deep love track🖤💙🖤

Well done for catching that notification sound

Airy Ambient for Sleep: Night Sounds

waiting for the stars to change

Taken from @benbondy 's self-titled cassette, out 4/20/2022 on Quiet Time.

Ben Bondy 

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Ben Bondy - The Only Part of You I Ever Really Needed

Extract from 'Image Langage' (SP140)
Out June, 24th 2022 on 2xLPs, CD, digital download.

Order: https://feliciaatkinson.bandcamp.com/album/image-langage

—
Opening the window, I look at the light, it connects me to something more vast.

Felicia Atkinson’s music always puts the listener somewhere in particular. There are two categories of place that are important to Image Language: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record—Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy—the landscape is what is waiting for you when you leave the house, and vice-versa. Each threatens—or is it offers, kindly, even promises?—to dissolve the other. Recognizing the normalization of home studios these days, she revisited twentieth-century women artists who variously chose, and were chosen by, their homes as a place to work: the desert retreats of Agnes Martin and Georgia O’Keefe, the life and death of Sylvia Plath. Building a record is like building a house: a structure in which one can encounter oneself, each room a song with its own function in the project of everyday life.

At times listening to Image Language is immediate, something like visiting a house by the sea, sharing the same ground, being invited to witness Atkinson’s acts of seeing, hearing, and reading in a sonic double of the places they occurred. In an aching moment of clarity in “The Lake is Speaking,” a pair of voices emerge out of the primordial murk of piano and organ, accompanying the listener to the edge of a reflective pool that makes a mirror of the cosmos. “I open my feet to fresh dirt, and the wet grass. I hold your hand. You hold his hand. In the distance without any distance. The comets, the stars.” At other times, listening to Image Language is more like being in a theater, the composition a tangle of flickering forms and media that illuminate as best they can the darkness from which we experience it. On “Pieces of Sylvia,” a noirish orchestra drones and clatters beneath and around a montage of vocal images, stretching the listener across time, space, subjectivities. Atkinson says that Image Language is like the fake title of a fake Godard film. There is indeed something cinematic about Atkinson’s work—not cinematic in the sense that it sounds like the score for someone else’s film, but cinematic in the sense that it produces its own images and language and narratives, a kind of deliberate, dimensional world-building in sound.

Image Language is built from instruments recorded as if field recordings, sound-images of instruments conjured from a keyboard, instruments Atkinson treats like characters, what she calls “a fantasy of an orchestra that doesn’t exist.” And then, speaking of Godard, there are the monologues, operating as both experimental-cinematic device and a literary style of narration. Voice can be a writerly anchor or a wisp of a textural presence. Atkinson’s capacious and slippery speech plunges into and out of the compositional depths, shifting shapes, channeling the voices of any number of beings, subjectivities, or elements of her surroundings—not unlike her midi keyboard, able to speak as a vast array of instruments.

Image Language is an environmental record, in the vastest sense of the world. It is about getting lost in places imagined and real; it registers, too, the dizzying feeling of moving between such sites. It puts forth a concept of self that is hopelessly entangled with the rest of the world, born of both the ache of distance and the warmth of proximity.

— Thea Ballard, 02.2022

Image Language

Becoming a stone

FELICIA ATKINSON 'Becoming a Stone' (SP140)

crash830 - rast

Gravity

Crescent

A bunch of sounds I have been bustling around these last months. Now they are digital available from my bandcamp.

Artwork by Iñigo Villafranca Apesteguia
Mastered by Shy

The Now Liminal

Choose To Be Gay (Femenine)

PRESS:

(transcribed from German)

The release of the compilation »Setting Thoughts On Fire« on the Berlin label Vaagner, the proceeds of which go to 'Kyiv Angles' and 'Helping to Leave', does not seem unusual at first. But the six pieces come exclusively from artists who could face serious repercussions in their home country of Russia for any kind of expression of solidarity. Perhaps it's no wonder that even an artist like Perila, who otherwise works intensively with her own voice, does without vocals on her track, just as her colleagues—including Pavel Milyakov, known as Buttechno, and X.Y.R., for example—largely do without the direct and obvious, i.e. without statements. Instead, they express a basic mood with electronic soundscapes and only rarely very discreetly used rhythms. But in the course of this stringently curated compilation, the atmosphere gradually changes and ends on a lighter note. Is all of this to be understood as a kind of wordless protest? Perhaps. But it most certainly offers musical visions of a world in which it would not even be necessary.

https://vaagner.bandcamp.com/album/setting-thoughts-on-fire

VAK58 | Perila – Setting Thoughts On Fire

Diagrams of Thought

Nueen - To Eve

Meet Me At Sachas

Meet Me At Sachas (feat. Florence Sinclair)

shiver lick

https://buttechno.bandcamp.com/album/yalta-ukraine
all proceeds go to Ukraine charities and defence needs

Synthopia

Out on November 24th, 2022 physically (Vinyl) and digitally...

Pre-order: 
https://rubadub.co.uk/products/baby-with-a-halo
https://motionward.bandcamp.com/album/ura-baby-with-a-halo

All music written and recorded by Ura https://soundcloud.com/unsignedrecordingartist

Artwork by Shy
Center labels by JS
Mastered by Anne Taegert at D&M
Mixed by Francis Latreille

MW010: Ura, "Baby With A Halo"

Crude

Quero trilhar o caminho do Divino,
Brilhar como estrela no firmamento infinito,
Na jornada para dentro do ser.

Aprender para ensinar, ser aprendiz do destino,
Com a Rainha dos encantos da Floresta,
Sol que guia os passos, iluminando os caminhos.

Purificar as intenções, clarear as ações,
Na dança cósmica das intenções.

Nas profundezas do ser, buscar a verdade,
Na quietude da alma, encontrar a claridade,
Na jornada da vida, ser guia e aprendiz.


Honrar os mistérios da existência,
Em comunhão com a natureza, em reverência,
Despertar a consciência, rumo à evolução.

Percorrer os caminhos do coração,
Expandir a compaixão.

Que a chama interior brilhe intensamente,
Que o amor seja a essência, permanentemente,
Que a jornada seja de amor e verdade,
E que a luz nos guie na eternidade.

Quero trilhar o caminho do divino,
Brilhar como estrela no firmamento infinito,
Na jornada para dentro do ser.

Aprender para ensinar, ser aprendiz do destino,
Com a Rainha dos encantos da Floresta,
Sol que guia os passos, iluminando os caminhos.

Purificar as intenções, clarear as ações,
Na dança cósmica das intenções.

Nas profundezas do ser, buscar a verdade,
Na quietude da alma, encontrar a claridade,
Purificar as intenções, clarear as ações

Nas profundezas do ser, buscar a verdade,
Na quietude da alma, encontrar a claridade,
Na jornada da vida, ser guia e aprendiz.

Música produzida por: Adriano Figueiredo
℗ Nova Terra

Nova Terra

Aprendiz

quiet time for your mind

sorry, we don't accept demos right now

The electronic underground, from minimal beats to ambient and everything in between. Curated by SoundCloud.

Ben Bondy - The Only Part of You I Ever Really Needed

Quiet Time

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