Name: Maths Balance Volumes - We Had Time by Penultimate Press
Duration: 3 min 2 s
Description: From A Year Closer by Maths Balance Volumes

OH NANA

OH NANA the song

program adaptation | untitled project 001 sessions | ambient atmospheric psyche drone industrial horror WIP | runx3 6 30 bpm take 1 8325

sadp5

I stay in my own grave,p ut a knife to my throat put a knife to my face
Cant bare to see my own face, i dont like the way i look, i dont like the picture that you took,
I dont like the way we used to look at one another, now we don’t even act like we knew eachother 
Now we just stay away, away, for another day, staying far away

cant bare to see my own face

Tok Tru

From Sonja Tofik and Mar-llena's collaborative LP release 'Vilar i dina spår', released on LP in May 2018
@moonilena

Vilar i dina spår

Buy LP

Mar-llena - Monrepos

by @pamela_andhersons

soft space
slow fade
hidden place (Bjork cover) ft. secret artist (collab as ice cream)
something sweet

Pamela_ and her sons – Fluid By Grace

Isolation Loops

Bandcamp

hope

Glia - omotuo

MIKI YUI, Aperio!, LP
Release date - Sept 25th 2020
Catalogue nr. - HG2007
Format - Vinyl/digital

hallowground.bandcamp.com

Tracklist:
1) Listening (oneness) 10:03 
2) Dancing (swamp) 04:00 
3) Chanting (afar) 03:57 
4) Dreaming (now) 05:25
5) Rhyming (colours) 02:58
6) Breathing (buds) 04:10
7) Babbling (mono) 04:45

Credits:
Music and Mix Miki Yui at MY Studio Düsseldorf
Mastering Giuseppe Ielasi
Drawing Excerpt Miki Yui 
Cover Design Ruth Stofer

///
The title of Miki Yui’s seventh solo album “Aperio!” is derived from the latin origin of April, "aperire" meaning “to open” or “to reveal”. Hinting at the way her music unveils another reality which is hidden beneath the surface. The title also reflects the aperiodic character of the music, its irregularity. Like a magic word to reveal the mysterious cosmos, each song opens up another intimate world of wonders.

„All my work emerges from my physical experience, the inspiration often comes much later though, after the experience is digested and almost forgotten, then it crystallises and becomes a source for my music.“

It is indeed no accident that the first track of „Aperio!“ is entitled
„Listening (oneness)“: it vibrates for ten full minutes with and within us. It reflects the art of Miki Yui coming into existence. The Düsseldorf based Japanese artist approaches the world around her from a sensual perspective rather than in an analytic-logical way, still both paradigms of art production manifest their influence on the process.
Miki Yui says: „In my music, I play the game of turning the abstract into concrete and vice versa.“

This is obvious in all of the compositions on „Aperio!“. Her music combines otherworldly and dream world experiences, creating environments of multiple atmospheres, both warm and inviting but at times irritatingly cold and airless. They stimulate all kinds of feelings in us: astonishment, sadness, yearning, wondering, and hope.
For her it does not matter where the elements of her cobweb originate: from field recordings to abstract and artificial creations to electroacoustic sounds. She remarks, “revealing the source would only limit the imagination of the listeners. My sounds exist to trigger their own imagination“

Miki Yui is born in Tokyo, based in Düsseldorf. Crossing the boundary of music and fine art, she is known for her unique minimalistic and organic approach towards music since 1999 exploring the grey zone of our perception and imagination.
Since 2008, parallel to her own work, she is in charge of the Klaus Dinger Archive, who was her partner.

- Text by Thomas Venker

MIKI YUI - Dreaming (now)(HG2007)

From A Year Closer by Maths Balance Volumes

A Year Closer

Purchase

Maths Balance Volumes - We Had Time

Pre-order now available from Imprec.com

Harry Bertoia's Glowing Sounds LP contains three versions of the same composition, each transferred at different tape speeds in accordance with the artist's instructions. This is the third LP to be released from Bertoia's extensive tape archive and it's the first, of many, to be released using instructions left behind by the artist himself.

Bertoia wrote the concept for this Glowing Sounds LP on a note in 1975 and slipped it into the master tape case where it sat unread for 45 years. The idea was simple, transfer the original recording at its original speed and two slower speeds. Bertoia noticed that the results, however, were profound. 

Recorded on January 20, 1975 using two large gongs, Glowing Sounds is one of the most powerfully minimal recordings yet discovered in Bertoia's collection. The artist's note left with the tape indicated that it was recorded at a speed of 15 IPS (inches per second) but slowing it down to speeds of 7.5 IPS and 3.25 IPS were quite effective for enhanced playback. Side A features the original 15 IPS recording and the 50% slower 7.5 IPS recording. Side B features a 20 minute, ultra-slow version at 3.25 IPS. 

Long, deep drones and powerful overtones define the sound of this recording. Comparison of the three speeds provides a revealing magnification of Bertoia's gongs, overtones and the artist's inventive approach to performance, composition and recording. 



Bio: 

Harry Bertoia first gained some artistic visibility in the early 1940s, then came into prominence with his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, which quickly became classics of modernist furniture. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the late 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Harry Bertoia's recently dismantled Sonambient barn collection was an attentive listener's paradise full of warm, expressive instruments that were gorgeous visually and audibly. Nothing could prepare you, even on return visits, for the overwhelming experience of entering the spacious wood and plaster interior where gongs, some of them giant, hung among the ranks of standing sculptures of various metals. Over nearly twenty years of adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. He considered this barn a full experience, sights and sounds comprising not a collection of works, but one piece unto itself. It was here, deep in the woods, that his Sonambient recording work took place.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a the artist's logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

Glowing Sounds

Harry Bertoia - Glowing Sounds (slowest) - LP -  Pre-Order

The most daring, audacious and amazing record label on the planet - Le Monde

Maths Balance Volumes - We Had Time

Penultimate Press

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