Cool track! Sounds good!! Here's my new Halloween mix. Cheers! http://snd.sc/Xl4dMp

New LP Saturn In The Basement out 20 May 2022 https://disciples.ffm.to/disc16

MODEL HOME LIVE IN EUROPE JUNE 2022

3/6 Bad Bonn Kilbi, Dudingen, Switzerland
4/6 Raindogs, Savona, Italy
5/6 Radio Blackout HQ, Turin, Italy
7/6 Beaches Brew Ravenna Italy
8/6 The White Hotel, Manchester, UK
9/6 Strange Brew, Bristol, UK
10-11/6 Cafe Oto, London, UK
17/6 Bourse de Commerce, Paris, FR

Model Home - Couch

https://open.spotify.com/album/2OTLE3PaLyNQvmYL17rYG1

Hitori

"II" is the first track we're revealing from "Lachrymorph", a collaborative full-length album by Petar Petkov and Bartosz Borzeszkowski. To be released on tape & digital on November 25 at http://amekcollective.bandcamp.com

To create their first collaborative full-length “Lachrymorph”, guitarist Petar Petkov and drummer Bartosz Borzeszkowski embarked on a journey to the Unknown – both physically and creatively. Having successfully collaborated in the studio (check out “Scape I", released in "Vanishing Standards II"), the artists felt the need to dig deeper in their mutual audial explorations, which curiously enough stem from their quite different musical backgrounds with Petkov coming from the world of classical guitar and Borzeszkowski - from the field of jazz.

In “Lachrymorph”, Petkov and Borzeszkowski don’t hold preliminary discussions to lead the music the desired way, they do not map their explorations but rely on intuition. Creating in a small cottage in the deep forests of Cassubia, Poland, they seem to have not only opened their own worlds to one another's contributions, but have left the door wide open for all that lurked around to further nuance and deepen their sound. Scattered across the pieces are field recordings, captured during the duo’s walks in the surrounding areas, that further flesh out the world surrounding Petkov and Borzeszkowski's creative process.

“Lachrymorph” is a varied listen, more of a collection of musical snapshots than a narrative-driven experience. Some tracks (“I”, “IV”, “VII”) are deep and captivating soundscape works that make you lose a sense of the actual instruments that went into their creation. Others(“V” and “VI”) are more straightforward and act as a sort of wake-up call, not letting you disintegrate entirely in the hazy musical territories of the record. Most of the music, however, inhabits the intriguing zone between these two polarities, neither direct nor surreal, like glimpses from one world to another. 

Music by Petar Petkov and Bartosz Borzeszkowski
Recorded and mixed by Bartosz Borzeszkowski
Mastered by Michał Jan Ciesielski
Design and artwork by Kamil Frąkewicz (@szklanymózg)

Petkov/Borzeszkowski - II

My new album "Phant[as]" is out via Aesthetical, the sub-label of Cyclic Law.

“Imagined as a lucid nightmare, fuelled by my various inner struggles, Phant[as] is a trip into the depths of imagination. The project is inspired by Phantasmagoria, a form of theatre that was most popular in Paris in the 18th century, in which images of skeletons, demons and ghosts were projected onto walls and/or sheets. During these performances, there was a rapid succession of lights, smoke, illusions, ghosts and spectres that deceived and amazed the audience. The album then revolves around the concept of "illusion" to be understood as a succession of images, sounds, colours, objects, actions that vividly affect the senses and imagination showing unreal and intangible figures, but still visible and paralysing, just like our fears are. In fact, each track deals with my different turmoils, negative thoughts that have conditioned the last few years of my life and describe uneasy conditions shared by most of my peers. The project is presented as a cathartic experience in which I exorcise my mental ghosts and confronts challenges with the powerful and persuasive weapon that is sound, composed of obsessive rhythms and evanescent atmospheres. Finally, the reference to the Magic Lanterns is linked to my research in the field of audiovisuals, since they were the first performances in which an attempt was made, through the combination of motion graphics, light games and sound, to obtain greater sensorial and emotional involvement with the public.”

* CD Edition of 300 copies.

* Worldwide Distribution via Southern Records Distribution

Buy on Bandcamp
aesthetical.bandcamp.com/album/phant-as

Press Page on Tailored Communication
tailored-communication.com/releases/phant-as

Also available from the Cyclic Law website
www.cycliclaw.com/aesthetical/cami…s-cd-/-dl-aes005

Album Teaser on YouTube
youtu.be/GHCgJui4e18

Phant[as]

Abrasive Euphoria

GENKO

Before The Echo (bc079)

Cherry Lips

Track from the Split Release  "Hexalyne _ Lain - Evel 46"
__________________________________________
Compact Disc (CD) + Digital Album
— Limited Edition of 25
— CD comes in a special plastic sleeve called 'ejector'

Evel 46

Cliide-N

https://open.spotify.com/album/3P4boT7ScnEGRq96xn9Ur7

Contrast F

A potentially surprising release on Editions Mego. Another planned prior to the untimely passing of Peter Rehberg in 2021. 

Melvin Gibbs is the renowned bass player and producer from Brooklyn who’s vast resume includes playing with Sonny Sharrock, John Zorn, The Rollins Band, Dead Prez, Caetano Veloso and Femi Kuti amongst others. A solid resume, no doubt, but what is Gibbs doing on Editions Mego? 

Behind the scenes, those who know Gibbs knew that amongst all this he was also tinkering away at another form of music, one which skirts around the border between music and sound design. The Wave is the first release that reveals this side of Gibbs’ creative output to those outside his inner circle.

The driving force for this output is Gibbs’ multi-decade friendship with acclaimed  American video artist and cinematographer Arthur Jafa. Over the course of time Gibbs and Jafa have had many conversations about music and the connection between film and music. Jafa’s desire to make film that worked the way Black (as in Black/African-American/ Afro-diasporic peoples) music worked inspired Gibbs to study the filmmakers Serge Eisenstein and Dziga Vertov and incorporate their philosophies and tactics when recording his own music. The two discussed sound design which directly informed Gibbs’ choice of music making tools and led to him acquiring Symbolic Systems Kyma software and hardware, incorporating this as a composition tool and sound design and component in his work. These conversations bore concrete fruit through Gibbs’ work for TNEG, the film studio Jafa ran with filmmakers Malik Sayeed and Elissa Blount Moorhead. Gibbs created the soundtrack for their very first project, the short film “Deshotten 1.0” (2009 - directed by Jafa and Sayeed) as well as their Martin Luther King-inspired meditation on Black life “Dreams Are Colder Than Death” (2013, directed by Jafa)  

The bass-forward music, or ‘sonics’ as Gibbs calls it, emerged from an alternative mode of contemplation, a mode that he sees as closer to the mindset of a rootworker, an African-American herbal doctor who cures psychic ailments using means derived from African spiritual practice, entering a forest to find the right plants for a suffering client than a mediator attempting to invoke mindfulness. Gibbs says this practice yields results that suggest an aural form of creation akin to coagulation, a formal movement that gives the sense that a flow of sounds can emit something bearing resemblance to solidifying objects. 

In 2020 Jafa asked Gibbs to work on the soundtrack for a work in progress called “The Wave''. When they got together to work on the soundtrack, Jafa played Gibbs a selection of sounds that included random moments of (probably unwanted) feedback on 70's Miles Davis records, Pop Smoke's Brooklyn drill, the music of Bernard Gunter and Darmstadt-style compositions made with test equipment. Those sounds, filtered through years of conversation with Jafa about Black creativity and the possible evolution of Black music, formed the sonic vocabulary of “The Wave”. 

Over time the sonics evolved and “The Wave” became the piece Jafa calls "AGHDRA". This soundtrack incorporates and expands upon the sonics composed for “The Wave”. Gibbs mentions although the work with Jafa has always skirted these lines of evolution, this side of his vocabulary has been generally neglected, until now, due to his current jazz musician/jazz festival-centric focus and radar. 

The result of this parallel exploration is a deep excursion into a nuanced sound world. The rich tapestry of textures allows one's mind to explore and project within this bed of curious investigation of sound. The bristling, itching, restless, clicking, diving nature of the electronic sound world presented by Gibbs, is abstract and unearthly on the surface but closer listening (which it demands) reveals a very human quality to these austere shapes.

Anamibia Sessions 1: The Wave

Ibo Code

Melvin Gibbs 'Ibo Code' (EMEGO291)

The fifth edition of the Naviar Haiku Fest took place on the 7th of December 2022 at the iconic Cafe Oto in London. 

The event featured performances by members and friends of Naviar, working in the fields of ambient, electronic and contemporary classical music. Each performance was introduced by haiku poems written and recited by members of the British Haiku Society.

Watch video at https://youtu.be/iNsqWvwGzKk

All sounds recorded and performed by Manja Ristić
Mastering Marco Sebastiano Alessi

Gauaua

ritaleite

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Morgan Ganem

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