re-smp

At heart, Stas Sharifullin is a supporter. His label Klammklang (co-curated with Julia Sharifullina), his teaching work, his shape-shifting multi-disciplinary artistic practice and his other projects are all a testament to his unique ability to work alongside and lift others up. Perhaps that’s also part of why he has never released a full-length record under his HMOT moniker – until now, he’s been too busy helping others.

But his first ever full album – ‘This Music Greets Death’, written between 2014 and 2021 – is finally arriving. A grim-sounding title is accompanied by a soft watercolour painting of strange, gentle creatures and their unknown world. A curious juxtaposition. But all is clear to Stas Sharifullin, and everything is as it should be. “This is a record about the horizon of possibilities,” shares the Moscow-based sound artist. Here, death signifies a new beginning, a clean slate, a starting point of discussion. We’ve gotten this far and everything has gone wrong – where do we go from here?

In a sense, this is a record of extra-ordinary optimism, a record celebrating curiosity and hope, despite an opening track which could be interpreted as nothing but bleak. “What if the consensus is simply self-erasure?,” asks Rupert Clervaux in an almost matter...  more

https://soundcloud.com/hmotology
https://soundcloud.com/warmwintersltd

This Music Greets Death

Premiere: HMOT - Oneiropolis (feat. Zurkas Tepla)[Warm Winters Ltd]

from the album "Ever So Beautiful" on Noir Age.

Anasisana - If I Weren't In Love With You, I Would Fall In Love With You

Excerpts from the B-side of the 'Prisms in Dalliance' cassette, forthcoming in October 2022 on Monorail Trespassing.

Prisms in Dalliance

Dominic Coppola - At The Mercy of an Aphrodisiac (excerpt)

Sound: Circular Ruins
Voice: Öxi Peng (@pennybirdie)

Shells That Glow Like 3mber

02 Grand Soleil

'May 99' out April 23, 2023

Cello: Charles Curtis
Guitar: Alan Licht
Electronics: Dean Roberts

Mixing by Jade Guterman
Mastering by Rashad Becker
Photos by Thomas Ankersmit
Design by Alec Mapes-Frances

https://www.blankforms.org/publications/charles-curtis-alan-licht-dean-roberts-may-99

https://blankformseditions.bandcamp.com/album/may-99

Charles Curtis, Alan Licht, Dean Roberts - May 99a (excerpt)

Taken from the album 'Buy Corals Online' released as LP and Download.

Buy Corals Online

Loke Rahbek & Frederik Valentin 'Somersault' (EMEGO 247)

Penultimate Press is pleased to present A Sunset for Walter, the first duo release from long-time collaborators Jérôme Noetinger and Anthony Pateras. Having worked together in a number of different collaborative contexts over the years, the pair used Pateras’ 2018 residency at Schloss Solitude in Stuttgart as an opportunity to develop a major durational work for Steinway piano and multiple Revox tape machines. Presenting four excerpts from a three-hour concert, the LP’s opening moments immediately establish its distinctive sound-world: an austere sequence of octaves slowly sounded by the piano gradually develops into passages of fragmentary lyricism as Noetinger’s tape manipulations dilate the sonic space with rumbling sub-bass, distant echoes, and hints of uncanny backmasking.
 
A Sunset for Walter was conceived as a loose tribute to the piano works of Walter Marchetti, particularly the slowed-down subaquatic expanse of Nel Mari Del Sud. As Marchetti described his own work, A Sunset for Walter is ‘music without beginning, or end, or development’, where the lack of obvious structural divisions creates something like an endless present. But where the monochrome surface of Marchetti’s work – in its willingness to descend, in his own words  to the ‘pits of aesthetic poverty’ – often approaches total stasis, A Sunset for Walter is calmly immovable in its overall texture but perpetually changing in detail, as the performers respond intuitively to each other, their instruments, and the environment. Noetinger’s tape manipulations range from nearly imperceptible shadowing of the live piano to anarchic bursts of rewinding tape, floating wisps of feedback, and dreamlike concrète interjections of children’s voices and splashing water. Pateras’ piano performance moves from single pitches left hanging over a backdrop of silence to almost Messiaen-esque sequences of complex chords and arpeggios, all sounded within a temporal framework that seems to follow internal rhythms of breath and bodily movements.
 
Caught in this hall of mirrors, the listener is often unable to distinguish the live piano from its tape-manipulated reflection. Like the sunset of the title, here outlines blur into a crepuscular haze, as fleeting effects of light and shade catch our attention just as they disappear.

A Sunset for Walter

Jérôme Noetinger and Anthony Pateras - 19h39 / 19H46

Following on from last year´s set of hallucinatory vignettes for Milan´s Haunter Records on "Jemi" and the dissection of the possible tearjerking sensibilities of self-help twitter bots on 'You'll Always Stay Beautiful' for Bristol´s NoCorner, @Broshuda glides on to casually deliver this glistening and equally heartfelt 7 Inch for Cologne based Imprint RDK Island.

On the A side, a reflection in the half light resonance of evening/dawn envelops the fractal heavily melodic core of 'Face2'. Floating in some ebulliently chilled out existence not that far, but still quite on its own trajectory, from some of Mouse On Mars most absorbing moments. An hypnagogic cityscape, brimming with lives, real and imagined.
On the flipside 'Voices' hypnotic melody-as-dream gives way to a smoldering state of aural unease, borderline anxiety creeping in, an "orchestra" of filtered, fading voices & realities. Gliding as a state unto itself, neither here nor there. This reality's what you make of it.

Bruno Silva (Ondness)

Release: 6th September 2019

Tracklist:
Face2 (5:04)
Voices (5:08)

Broshuda - Face2

Dreamcycles - Future Lights and Archetypes

https://sitequeeste.bandcamp.com/album/future-lights-and-archetypes
Available 1 May 2020 exclusively on Bandcamp. Available 29 May 2020 on all digital platforms.

Dreamcycles, the moniker of Irish-Canadian artist Jennifer Moore, emerges from the ashen present to deliver her conceptual debut mini-album Future Lights and Archetypes. Operating at the node between technological reality and speculative fiction, Moore transforms ethereal bedroom pop and monolithic electronics into uncanny soundscapes to explore what she describes as the “landscape of a future global economy.”

Moore’s imagination conjures a new order of global governance which uses data to assess the competencies, characteristics, and productivity capacity of its citizens. Predictive analytics are used to shuttle humans around the globe in a tightly choreographed dance of space, labour and capital. Spanning a perspective both personal and systemic, the Dublin-based producer guides the listener through her sober invention, anchoring its alienating events around simple longings for home.

Across six tracks, present-day sonics are repurposed to create warped atmospherics. “If I wanted to see the world, I’d have to imagine it,” says a disembodied voice on opening track ‘Memory (Temporary Access)’. Pitter-patter footsteps, playing children, and whirring device noises swirl around the words: harsh, familiar, and ultimately unsettling. ‘Fonn Abhaile’ follows—its vaporous synths matched by breathy vocals—but ‘Abrasive Routes’ reveals the haunting potential of Moore’s psychoacoustic constructions. News report snippets detailing the Dublin financial district jostle with screeching high-definition cars. “It’s become the most extraordinary contrast to everything else here,” recites a roving correspondent, cataloguing inequalities suffused into the electronic artist’s home.

As the mini-album progresses, the emotional intensity rises. ‘Memory Laneways’ pairs an elegiac refrain with industrial kicks before ‘Playing with the Concrete’ offers a moment of brightness. “You look good when you’re smiling,” sings Moore over a distant sinogrime melody, followed by her closing, and most affecting track, ‘Final Goodbye.’ Meditations on belonging are swept along by circular, trance-like synths whose closing destination is bittersweet: euphoria tempered by the artist’s sombre backdrop.

Moore describes Future Lights and Archetypes as a “post-extraction artefact.” Through its diary entries, radio clippings, and fragmented songs, the mini-album resembles an object hewn from a fully-realised world, like an Ursula K. Le Guin novel refracted through machine learning. Keen listeners might also detect a flicker of Grouper’s place-based musings or even the crumbling electronics of Actress. But this release melds intimacy with pulsating stimuli, Moore’s gaze oriented firmly towards the human cost of an omniscient technological future.

Jérôme Noetinger and Anthony Pateras - 19h39 / 19H46

Penultimate Press

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