Swerve

TR188 - gilgul - OS-22 [excerpt]

from the upcoming album 'aSpiritual' by offthesky & Rin Howell... out august 8th, 2021

Music: offthesky & Rin Howell
Mastering: offthesky / Ian Hawgood
Print design: Craig Tattersall
Packaging design: Daniel Crossley
Label: Fluid Audio

offthesky & Rin Howell - Suspension

Musician and composer Sahba Sizdahkhani serves as a unique crossroad of East meets West. Influenced heavily by both 1960’s spiritual free-jazz and Persian Classical Music, he channels the fire-energy and longing for connectivity these two stormy histories represent. At age 12, his self-proclaimed “aha moment” occurred while listening to The John Coltrane Quartet for the very first time. He was hooked and immediately began studies on jazz drum set and classical snare drum.
     As the years passed, however, his ferocious love of jazz and improvisation would open pathways and pointers to his native roots of Persian Classical Music, and eventually, he would begin formal studies on the Iranian santur with master santur player Faraz Minooei.
     Sahba has completed two separate Bachelor of Arts degrees: one at Berklee College of Music, in Jazz performance, and the other at The University of Maryland, in Art History & Archeology. He worked in Paris for several years in textile design but ultimately moved back to New York city to further pursue jazz drumming.
He has composed film scores for Chelsea Winstanley (JoJo Rabbit), Whalerock Industries, maverick avant filmmaker Paul Clipson, as well as a live score performance for the Cinema 16 series in the legendary tunnel underneath the Manhattan Bridge.
Additionally, Sahba has recently recorded with Michael Morley(Dead C) and currently has running musical collaborations with Derek Monypeny, Rob Magill, and Zachary James Watkins + Ross Peacock.
He has shared live bills with a vastly diverse class of artists including Laraaji, C spencer Yeh, Susan Alcorn, Henry Kaiser, Rova Saxophone Quartet, Sunwatchers, Wizard Apprentice, Talibam!, Plankton Wat, Peter Brötzmann, and Don Dietrich (Barbetomagus). He has performed at The White House, Park Avenue Armory, Kennedy Center for the Arts, Basilica Hudson’s 24 Hour Drone Festival, WFMU live performance, “Fire Over Heaven” at Outpost Artist Resources, The Embassy of France, VOA studios, and Garden of Memory Festival at The Chapel of the Chimes.
Sahba’s hazy, atmospheric solo performances with 104-string santour and drums have been described as “a dispatch from antiquity.” And WIRE magazine recently stated “Sahba Sizdahkhani starts playing [his] instrument as if  he's pleading for his life. His playing is breathtaking. . .”
     This particular work, “GANJ,” which translates to “treasure” in Farsi, documents the magical first meeting between a musician and a new instrument. It is the first ever raw, unrefined recording of Sahba on solo santur as opposed to drum set. It was recorded in solitude during the Winter Solstice of 2019 without any prior training or study whatsoever on the mystical 102-stringed trapezoid dulcimer. The consequent emphasis due to lack of any technical skill,  was pure sonics, overtones, resonances, and an homage to minimalist composers such as Terry Riley, La Monte Young, and early Miles Davis. Days after completing this work, Sahba rushed to seek out formal studies of the Persian Classical Radif with his current teacher, Faraz Minooei.

Sahba Sizdahkhani- Ganj Pt. 4 - from Ganj tape on Cassauna

In his book 𝑇ℎ𝑒 𝑊𝑒𝑖𝑟𝑑 𝑎𝑛𝑑 𝑡ℎ𝑒 𝐸𝑒𝑟𝑖𝑒, Mark Fisher wrote about the two notions: While the weird is something present where it doesn’t belong—something from outside found on the inside—the eerie has to do specifically with outside space. Something is eerie when there are unanswered questions about agency: Who or what is responsible for the abandonment of this zone? Who or what is crying out in the distance?

Katharina Schmidt’s 𝑇𝑒𝑛𝑛𝑖𝑠 𝐶𝑜𝑢𝑟𝑡𝑠 𝑖𝑛 𝑡ℎ𝑒 𝐻𝑎𝑙𝑓 𝐿𝑖𝑔ℎ𝑡, a single, longform track stretching to a near half hour, deftly captures this spatial sense of the eerie. The evolving drone is like coming upon a ruin, circling it, and being drawn inside. There are no surprises, no sudden horrors, just the strange pull of oscillating waveforms that paint a bleak yet soothing landscape.

In certain kinds of listeners, empty, abandoned spaces produce a pleasurable dejection. Maybe this is because spaces where human life is evacuated represent the end result of capital. (It seems to have withered away, but is in fact off to find another shell for its home.) What we’re left with is something new to inhabit, a new infrastructure for freedom. The subtle changes in Schmidt’s recording have less to do with melody and rhythm, more to do with accumulating color and texture of space. And so the half hour can feel like five minutes, or an eternity—time and scale exist differently here.

---

After years of playing drums and piano in various bands, Katharina Schmidt's solo work is influenced by indie, experimental, and improvised music. Exploring interests in storytelling, sonic topographies, and generative techniques, her music uses electronics, field recordings, and self-built interfaces alongside acoustic instruments. From sonifications to lullabies, her work is poised between formal experimentation and narratives cued by literature and pop culture, and can be heard in installations, film music, and radiophonic pieces, as well as releases on labels such as Flag Day Recordings, Slaapwel Records, and Focused Silence.

Katharina holds a master’s degree in Sound Studies from the Berlin University of the Arts and hosts resident shows at Cashmere Radio and SVS Radio.

katharina-schmidt.net
katharinaschmidt.bandcamp.com  

artwork by Stefan Lingg
audio finalized by Glyn Maier

all proceeds to The Homeless Period Project (Greenville, SC, US) - www.homelessperiodproject.org

Tennis Courts in the Half Light

Katharina Schmidt - Tennis Courts In The Half Light [Excerpt] (ENMD03)

"A long desire of extraordinaire saxophone player Peter Brötzmann was a studio recording of some of his favorite jazz tunes and his own music -- a grand bridge over the music important for his life and his musical career in the past and present. Trost invited him to Martin Siewert's studio in Vienna to do so in summer 2018. The result is intense, beautiful and touching. Features compositions by Harry Barris/Gordon Clifford, Sigmund Romberg/Oscar Hammerstein II, Herbie Nichols, Dizzy Gillespie, George Gershwin/Ira Gershwin, and Sonny Rollins. Personnel: Peter Brötzmann - tenor saxophone. Recorded, mixed, and mastered by Martin Siewert. Liner notes and artwork by Peter Brötzmann."

TR190 - Peter Brotzmann "I Surrender Dear"

Tomorrow Foolish Logic

East End Moondust

- A lot of people use the phrase "in love". I mean "I’m so in love with that girl" or "I’m so in love with that guy". My first question to you is: is that a real thing or is it sort of just a figure of speech to say that you like somebody a lot?
- I think it’s a big difference between liking somebody a lot and being in love with somebody. You can like somebody a lot and not being in love with them. 
- Ok so explain then, how do you know when you’re in love with a person?


Perila – Vaxxine 
Loscil – Faults
Bing & Ruth – Scrapes
Space Afrika – Indigo Grit (feat. guest)
Hiro Kone – Mist To Petrifact
Mogano – Retama
Drøp – Epileptic Heritage
Porter Ricks – Scuba Lounge
Sam KDC – Inauguration of the Pleasure Dome 
Museum Of No Art – One Night At the Pool
Lawrence English – A Binding

@nasty_r 
https://www.instagram.com/nasty.rr/

0х0 – Anastasia Razubaeva — In The Middle Of The Night In A Dark House Somewhere In The World

A2 Rave Industries - Nenuphores2b Clip

The first Fossil Aerosol Mining Project audio recordings were made 30 years ago this year. In the observation of three decades of obscure, faked resurrection is the new CD “Revisionist History”. 

The recordings on this album are hybrids, created by the grafting of old artifacts onto new material using recently devised studio processes. New sounds of the past, articulated through the devices of an unimagined future.

The anniversary edition of Revisionist History is brought to you through a collaboration between Afterdays Media and The Helen Scarsdale Agency.

ISky And Little Eyes

Eddie Ruscha (aka E Ruscha V, aka Secret Circuit) brings us 1 hour of original counter intelligence via his guise of The Only Thingz.

Using electronic synthesis as a basis for sound manipulation, The Only Thingz attempts a piercing of the membrane, be it water or yoke, in an imaginative sense, as of the creation of polliwog. 

A journey of searching and discovery.... A field guide composition of a possible life creation theory... A primordial map in linear sonic formulae.

Available now for pre-order via the Bandcamp store. Tapes will be posted out late February 2018...be quick!

only thingz sound snippets

GMT07 - Only Thingz (Ed Ruscha V) (snippets)

Songs, artifacts, and debris from an artificial past. Over 30 years of fake resurrection.