Silvercoat the throng

Malady of duration

Malvern Brume - The Whorls (Kashual Plastik)

Milian Mori is a composer and digital artist based in Switzerland. As part of his solo work he integrates dance, algorithms, pixels, and club music. In the last 12 years mori has developed a musical language that aims to expand, project and reinterpret dance music's common vocabulary.
Mori shares his deep interest in combining mathematics, geometry and data with emotion, dance and fulfillment: Technology meets nature, binary meets fluids, algorithm meets spirituality, dualism meets triality, machine meets human, randomness meets self similarity. All of his works are trying to open the space which exceeds dualism. His art doesn’t want to answer, nor does it aim to question.
His debut album »as you were listening«, released via raster, captures the spirit of his previous works as well as establishes a new vision in which he endeavours to fuse pop culture with the art world. In »As you were listening« he’s using the distinct language of dub techno whilst attempting to expand the genre’s vocabulary with new changes, elements and aesthetics.
Mori has been involved in numerous collaborations and a wide array of arts projects, as well as working as a composer, DIY installation artist, sound designer, recording and sound engineer.

As you were listening

Milian Mori »I listen 5« taken from »As you were listening«

Artist: Groupshow
Title: Greatest Hits
Cat#: faitiche 29
Release: Jan 27th 2023 (digital single: Nov 25th 2022)
Format: LP/DL

Faitiche presents Groupshow’s Greatest Hits: The ten tracks on this first vinyl album by Groupshow (Hanno Leichtmann, Andrew Pekler, Jan Jelinek), recorded between 2005 and 2018, document concert recordings and studio improvisations by the trio.
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In improvisation there are no mistakes, only missed opportunities. Groupshow found their first opportunity in the routines of live performance and they used this opportunity to break with these routines. The trio consisting of Jan Jelinek, Hanno Leichtmann and Andrew Pekler came together in the context of Kosmischer Pitch, playing live versions of the music from Jelinek’s 2005 studio album of that name. During this project, the musical interaction between the three participants quickly emancipated itself from the original programme, departing from fixed roles and finding a distinct form in constant change.
Groupshow sessions – rehearsal, concert or recording – are always improvised. The interplay of the various sound sources, converging from the directions of “electronics”, “percussion” and “guitar”, does not follow the Krautrock wave logic of crescendo and morendo. Jelinek, Leichtmann and Pekler have established a method of transparent density in which links and breaks are not concealed but remain audible. The music works through attraction and repulsion, with a loosely organized structure that always leaves enough room for the next intervention.
The principle here, repeated even in the smallest units, is that of duration. Groupshow think of their music in terms of an installation: no starting point, no dramaturgy, and ideally no end. Concerts take place not raised up on a podium, but in the middle of the room on a level with the audience, who only enter the space with the musicians and instruments once their interaction is already underway. In 2008, Groupshow used this approach to create a live soundtrack for Andy Warhol’s film Empire, over the full length of eight hours and five minutes.
Recordings in general and the “Greatest Hits” format in particular are another key aspect of this ongoing work on a collectively modulated continuum. The ten tracks on this first vinyl album by Groupshow, recorded between 2005 and 2018, document the ephemeral capturing of opportunities that were not missed. Extracts and essences of an endless movement of searching. The sprawling form of the whole, suspended in succinct, separate units.
To paraphrase Lao Tzu and Roland Barthes, one might say: Once their work is done, they are no longer attached to it. And because they’re not attached to it, it will remain. (Arno Raffeiner, 2022)

Groupshow: Music For A Plank Press

On her third album, Berlin-based Dutch-Italian composer and sound designer Aimée Portioli, aka Grand River, asks what guiding forces might be driving, enticing, and affecting us. “All Above” is rooted in her deeply personal philosophy as an artist, blurring the boundaries between electronic music and acoustic music and sculpting familiar ambient forms into personal themes painted with rich emotional colours. Written painstakingly over the last two years, the album is the most ambitious and divergent set of music Portioli has assembled so far, with a wide variety of instrumentation (including voices, strings, organs, guitars, and synthesisers) focused around the piano. She‘s keen to assure listeners that while that instrument isn‘t always heard, it‘s constantly at the forefront of the album, shepherding its emotions and anchoring its mood. It makes sense then that on the opening track ‘Quasicristallo’, the acoustic piano is the first element we hear, recorded closely, so its characteristic rattle and creak can speak as loudly as the familiar tones themselves. When the music blooms into abstraction and processed electronics, it‘s almost imperceptible: reverb mutates into ghostly vapour trails, and distortion forms the keys into another instrument entirely.

“All Above“ follows 2020‘s acclaimed “Blink A Few Times To Clear Your Eyes“ and 2018‘s “Pineapple” released on Donato Dozzy and Neel‘s Spazio Disponibile imprint. Having garnered praise from outlets like Resident Advisor, XLR8R, The Quietus, Inverted Audio, and The Verge, Portioli operates in a unique space within the electronic music scene, straddling the art world and the wider electronic music scene. She‘s developed sound art installations for Rome‘s La Galleria Nazionale and the Terraforma Festival-related Il Pianeta, and has appeared at Barbican, MUTEK, Le Guess Who?, Kraftwerk, and other internationally renowned venues and festivals, often collaborating with Marco Ciceri on A/V presentations. Ciceri also maintains the visual identity of Portioli‘s label One Instrument, a concept imprint that asks artists to create music only using a single device. All this experience is poured into “All Above”, a richly visual album that‘s far more than just an imaginary film score. While on ‘Human’, her piano punctuates a rhythmic synthesised bassline and smudged choirs that can‘t help but trace out the silver screen. The composer is keen to clarify that she doesn‘t think of her music (or sound in general) in visual terms.

Portioli studied as a linguist and used her art to develop an emotional language that‘s not bound by expected cultural constraints. When she adds a different instrument or process, it‘s not to reference a visual cue but to mark a journey through different states of being. Each element embodies a different emotion or mood: the electric guitar represents strength or violence, synthesisers shuttle us into the dream world, and the acoustic instruments highlight intimacy and warmth – even heart. Read like this, the tracks are like meditative poems rather than cinematic vignettes.

Dedicated to Editions Mego founder Peter Rehberg, who died suddenly last year, “All Above” demands engagement and refuses to evaporate into the background. The album asks listeners not just to absorb the album as a whole but notice the cracks in the structure and discern the tension they cause. That‘s never more evident than on the closing track ‘Cost What It May’, a piece of music almost jarring when Portioli chops into noisy waves of electric guitar. In the wrong hands, this might sound like a power move – some rock posturing to act as a finale. But Portioli‘s expression is different. She‘s forcing a level of engagement that perceives the negative space as just as necessary as the saturated positive, and what could be more haunting and emotionally resonant than that?

All Above

Human

Grand River 'Human' (EMEGO308)

Artist: Eli Keszler, Roméo Poirier
Title: Remix + 1
Cat#: faitiche 28+
Release: Jan 13th 2023
Format: DL

Roméo Poirier adds another track to his last year's album Living Room: "Les encombres" is anything but what the title suggests. A compelling addition to Roméo's mysterious cabinet of curiosities. 
Eli Keszler remixes "Statuario" - the album's opening track - and transforms it into an atmospheric setting that seems to have sprung from a magical vaudeville act.
Written and produced by Roméo Poirier & "Statuario" remixed by Eli Keszler, artwork by Tim Tetzner, mastered by Giuseppe Ielasi.

Roméo Poirier, Eli Keszler: Statuario (Eli Keszler Remix)

READ > https://inverted-audio.com/premiere-imaginary-softwoods-mr-big-volume/

Imaginary Softwoods returns to @fieldrecords with ‘The Notional Pastures Of Imaginary Softwoods‘ - an 11 track album of effervescent ambient and electronica. 'Mr. Big Volume' is powered by succulent pads and a heartstrings of emotions, making it an acute soundtrack as we slip into Spring.

The Notional Pastures Of Imaginary Softwoods

Imaginary Softwoods - Mr. Big Volume [Field Records]

Taken from the SDEM - Vortices - Album
Release Date July 28th 2023.
Audio mastering: Miles Whitaker
Artwork: SODA

Vinyl // CD // Cassette // Digital // Streaming 

Steeped in Northern England's post bleep+bass mutations the album expands & finesses SDEM's dynamic & forward-facing approach.

Vortices

SDEM - SKRUNGE

Tellerwäscher - Feinstaub

** DIGITAL RELEASE 01/06/2020 - VINYL RELEASE 18/06/2020 **

The Underwater Island is a collection of four tracks from Grenoble based producer Denis Morin. Philosopher, gardener, father and sonic explorer. Our friendship dates back over a decade, with some of this music first shared during a visit to Glasgow almost 5 years to the day - when 12th Isle the label was but an idea. For ISLE009, Vague Imaginaires gifts us with autobiographical field recordings, FM synthesis and skilled sound design inspired by the ocean and the Drac river which flows through the mountains of his city. Harmonising natural sound sources with digital realms, he navigates through minimalism, ambient techno and flashes of dub inspiration. Morin combines these musical ideas with Roland TR-8, 303 emulations, hydrophone recordings and vocal fragments from Tunisia, Morocco and Vercors Massif.

https://12thisle.bandcamp.com/album/l-le-sous-leau

Vague Imaginaires - L'Île Sous l'Eau (ISLE009)

Taken from 'Yes', Shinichi Atobe’s fifth album 

Available now bit.ly/38L8P9R

Shinichi Atobe - Lake 3

official soundcloud page of raster - artistic platform.

Milian Mori »I listen 5« taken from »As you were listening«

raster

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