Healer(s) Worldwide Discoveries

raster noton

Preorder via Bandcamp : https://osare-editions.bandcamp.com/album/oe-012-v-a-donne-che-corrono-coi-lupi

Inspired by Clarissa Pinkola Estés canonical text, Women Who Run with the Wolves (1992), the eponymously titled Donne che corrono coi lupi is a dedication to feral feminine energy, connection and sisterhood. In the book, Estés – a psychoanalyst, poet and cantadora, or “keeper of old stories” – draws on Jungian theory to weave an alternative mythology of The Wild Woman archetype. She conjures images of the underworld, rivulets of menstrual blood; a lumpen mass of placenta splattering onto a cave floor. Reimagining folktales in which women's creative power is released from patriarchal constraints, Estés finds affinity with nature. In a mirrored gesture, Osàre! Editions label boss Elena Colombi has curated a poetical array of tracks by over twenty artists, giving rise to a primal, mystical compilation.

– Be wild; that is how to clear the river.


ft. @maral66 @borusiade @cucinapovera @anna_in @kakubo @mayurashka @ece-o @lolina_relaxin @fetter @andreanoce @magadrum @camillemandoki @lucreciadalt @lee-emy @elenacolombi @lilvica @silviakastel @deradoorian @networkerror

[ OE 012 ] : V.A. - Donne Che Corrono Coi Lupi (Snippets)

More than five years since his debut album, sound artist Albert van Abbe now presents NONDUAL on Raster – a contribution so perfectly tailored to the platform that it is hard to conceive it is his first. NONDUAL will be out in February 2022 alongside DUAL, a remarkable collaboration with the label’s co-founder Olaf Bender (Byetone). 

NONDUAL has been inspired by nondualism. The term refers to the recognition that what we essentially are, behind this seeming multiplicity and diversity of objects, others and selves, is a single indivisible reality. With NONDUAL, van Abbe presents the listener with an opportunity to sonically explore this realization. 

The entrance to van Abbe’s nondual universe is a Cellar Closet. And yes, there is a portal deep inside, but it doesn’t lead to any kind of Narnia that C. S. Lewis would recognize. Rather, you’re presented with 14 consecutive landscapes made up of the architecture and infrastructure of yourself, on a nano-mechanical level. Sharp tapping cadences, sudden bursts of acidic noise, deep resonating oscillations – the sounds of the beyond microscopic machinery that makes us all tick. The scenery is wild but never chaotic: blistering rhythmical pulses collide with ethereal ivory harmonies, creating movement and balance, creating us. On this level, it’s plain to see that we’re all the same – in a literal sense. The rest is just a question of magnification and ego. 

Played and exhibited as an audiovisual project in the new ∄ Club Concert Hall in Kiev, Ukraine as well as NXT Museum Amsterdam, NONDUAL is a new live audiovisual performance, a realtime 4K+ flexible visual synthesizer based on Andreas Nicolas Fisher's Supervoid series played in conjunction with the NONDUAL soundtrack. 

NONDUAL was conceived at the Willem Twee Studio in 's-Hertogenbosch, where van Abbe also utilized a grand 'DIY' prepared piano in the adjacent concert hall, extensively sampling Beste Aydin (Nene H). The album was further mixed and engineered with Byetone at Funkhaus in Berlin. Jochem Paap (Speedy J) did the mastering for the album, the first full mastering project outside of his own material at STOOR in Rotterdam. A dream come true for van Abbe.

Nondual

Albert van Abbe »I hear a sigh coming down« taken from »Nondual«

Intro (entrainment)

London’s abundant waterways and parks provide an oneiric muse for Cucina Povera and Ben Vince’s resounding debut full-length collaboration, an engrossing suite of weightless sax, synth and disklavier-bedded, noirish nocturnes that land somewhere between Grouper and Terry Riley. 

Centred around Maria Rossi aka Cucina Povera’s muzzy vocal loops and the faintest melodic motifs, London-based composer and multi-instrumentalist Ben Vince accompanies on saxophone, synth and piano, shrouding Rossi's vocals in swirls of dimly lit psychedelic smoke. As a newcomer to London, Rossi was "caught up in a sort of wondrous overwhelm” - a feeling that seeps through every movement of the almost hour long album. Working mostly at the Roundhouse, the pair find a musical confluence between Rossi's words - "fluid, dreamy, hazy ideations" - and Vince's shadowy renditions.

Vince's plasmic echoes and Rossi's aerial delivery form a poetic union, twisting and painting each sound in pearlescent shades. Rossi's folk roots shine through like cracks of dawn sunlight on 'Sumu Puistossa' ("fog in the park"), reverberating over organ and dream-zone sax; her words tip into muted surrealism thanks to the controlled chaos of Vince's bleak treatments. His grasp of jazz is transfixing: bending sax motifs like ghostly memories of music from another timeline, smudging them into the soundfield. It’s most effective on 'Siellä Näen Kaiken' ("there I see everything"), where sickly, dissonant notes flicker like an almost-extinguished candle alongside motorised furniture music courtesy of a Disklavier.

Born out of wonder, daydreaming innocence and creative discovery, 'There I See Everything ‘ is the sound of two exploratory collaborators swimming into each other's ideas. From the Terry Riley-esque transcendence of '∞' to the sacred incantation of long-form closer 'Pikku Muurahaiskeko' ("little anthill"), the pair expose a new layer of creativity with each turn, gradually zooming out from discreet, vulnerable beauty to encompass a gently orchestrated chaos of sustained, sublime tension.