from the album 'ghost poems' available 4/15

Ghost Poems

earthen sea 'rough air'

Akari is the third album from Tokyo duo Illuha. Following 2011’s debut Shizuku (12k1067) and 2013’s Interstices (12k2028), Akari takes the next artistic step for the band. While Shizuku was recorded in the US and completed separately by the artists, Interstices captured the duo creating their exceptionally detailed music together live during a Japaneses tour. Akari, in turn, is the first studio album where Illuha recorded and mixed together, throughout the entire process. The beautiful st-robo studio in Tokyo put a collection of amazing equipment at their fingertips, from vintage mics and outboard gear to a vast collection of instruments, both acoustic and electronic. Their writing sessions were numerous and long with details meticulously obsessed over for nearly a year. The result is the most bewildering music Illuha have created to date. An album swimming with the most delicately tactile sounds and instrumentation that draws the listener in with hushed, motionless attention.

While Illuha’s Corey Fuller and Tomoyoshi Date are often drawn to the most sparse notes of Rhodes and Wurlitzer electric pianos, acoustic grand piano and guitar, the breadth of instrumentation is partially what makes Akari so abosrbing. They have succeeded in creating their own universe of sound, so beautifully recorded, where each element not only has its own space but connects and interacts so fluidly with the other sounds. It is as if they are placed perfectly by nature, the compositions are fluid and organic, a far cry from anything calculated or structured. It is this open space that the music exists in which in turn defines the music itself. There is ample room to breathe within this forest of gentle tines, bubbling analogue synthesizers, clicking percussion and quiet field recordings. This is subtlety at its most refined; hushed without being saccharine, distant without being morose.

Akari is the Japanese word for light. Conceputally the duo used this word as a guide, as if they were searching through the dark, trying to keep the light alive, as if one is cradling a candle doing everything in their power to keep it alight in a storm. It is this almost visceral sense of sheltering, of protection, that gives Akari a very human and personal sound whose intensely deep focus is as impressive as it is arresting.

Akari

Structures Based on the Plasticity of Sphere Surface Tension

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Structures Based On The Plasticity Of Sphere Surface Tension

Craig Leon - Nommo

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Taken from Anthology of Interplanetary Folk Music Vol. 1: Nommos / Visiting.


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Craig Leon - Nommo

Bing & Ruth - Reflector

Video: https://youtu.be/2xgcnaqKxoI

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From the album Tomorrow Was the Golden Age

© and Ⓟ 2015 RVNG Intl. / www.igetrvng.com

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Bing & Ruth - Reflector

In the wet heat of a Japanese summer, legendary musician Ryuichi Sakamoto was joined on stage by Taylor Deupree and the duo of Corey Fuller and Tomoyoshi Date, known as Illuha. The Yamaguchi Center for Arts and Media hosted the event as part of their 10 year anniversary which also included a captivating installation by Sakamoto called Forest Symphony. The days surrounding the concert brought the artists together for food, talk and exploration. Informal but meaningful moods that prepared them for performing together.

The performance, an improvised set for piano, guitar, pump organ, and synthesizers, ended up affecting the artists in a deep way. The four, having never played all together before, were taken aback by the level of listening and restraint that flowed between them. The audience sat in a breathless silence, the music offering a respite from the thick July air. As the last hushed note faded into blackness the artists knew right away it had been a deep journey.

It is a fortunate event when a moment like this is captured, as this concert was ( recorded in high quality DSD). Perpetual, named for the eternal and ageless quality of the music, is presented in three movements that traverse from soft layers of synthesizer and processed guitar, to open, airy sections of prepared piano and silence, to finally coming to rest in a most hauntingly delicate lullaby of lonely piano, crackling found objects and field recordings and tones suspended like mists.

Perpetual not only surrounds us and stretches through time but collects that expanse into a single memory, a record of a brief moment where time stood still and four musicians merged into one.

Perpetual

Movement, 3

'Miaux is the operating handle of Belgium's Mia Prce. Most of her prior recordings have been issued by Dennis Tyfus' Ultra Eczema label, but after catching her set at last year's Bruismelk festival, Feeding Tube had to “have” her new record. 
Unlike other known works, whereon Miaux is a mistress of elaborate keyboard shenanigans that border on the gothic, Above the High Rays brims with music of a very soundtrackly nature. It mixes Neo-Eastern percussion symbiography with floating swathes of parachute color, all of it presumably birthed from Mia's hands and keys. It's easy to imagine a Jodorowksy carnival scene, shot like the opening of Welles' Touch of Evil, while this album spins. It is soaked with a haunted, lonely quality that touches the edges of mystery like a torch. 
Cover art and one side of etchings by Mr. Tyfus, himself. The tears you shed will be your own.'
Text by Byron Coley

Above The High Rays was composed for a screening of René Clair's sci-fi classic Paris Qui Dort. Released on a one sided 12" with etching on Feeding Tube Records and on cassette on Ultra Eczema.

Above The High Rays

Above The High Rays, 12" Feeding Tube Records / Tape, Ultra Eczema

A track from the album 'UV Sea' out 02/13/16 on Constellation Tatsu.

Forest Walker - Desert Lighthouse

Physical: geographic-north.com/cassette/coyotes/
Digital: geographicnorth.bandcamp.com/album/coyotes
Catalog #: GN49
Cassette, limited to 100

Félicia Atkinson is a composer, sculptor, painter, poet, and publisher from Rennes, France. Atkinson has led a fruitfully fantastic run of eerily blissful, serenely euphoric sounds. Whether under her own name or via her defunct recording pseudonym Je Suis Le Petit Chevalier, Atkinson has released work on Umor Rex, Digitalis Limited, Aguirre, and Shelter Press, an imprint co-run with Bartolomé Sanson.

‘Coyotes’ is an EP inspired by Atkinson’s last voyage to New Mexico in February 2017, when she visited and took in the geographic landscapes from Taos to Ghost Ranch. The same vistas also inspired much of Agnes Martin’s and Georgia O’Keefe’s painting, as well as Jerome Rothenberg’s poetry and translation’s works.

Atkinson describes a ‘Coyotes’ as a “Carnet de Voyage,” a tape you could directly play in your car while traveling somewhere, a kind of imaginary map to a sentimental journey. A spontaneous gesture, close to the notion of gift or offering. Or, simply, a postcard to a friend.” But it’s also a praise to the conservation of national and state parks and its human and non-human souls, menaced as we know now by drilling and violent economic speculations.

Here, coyotes act as a kind of metaphor of ambiguity and doubt, a state of mind that Atkinson find interesting to transcribe musically; the ambiguity furthered by Atkinson as a literal “foreigner” in New Mexico. She conveys a sense of visiting these native sacred lands and wondering what you are doing there.

Musically, ‘Coyotes’ is composed of two long tracks, “Abiqiu” and “Lighter Than Aluminium.” Each track features an effervescent froth of piano, midi sounds evokes marimbas, Fender Rhodes, bells, sub-basses, and spoken word poetry written by the musician to display a melancholic landscape made of transparent but deep layers of pale colors and blurry lines.

Félicia Atkinson - "Lighter Than Aluminium"

Taken from the upcoming album Both Lines Will Be Blue, out July 12th on Smalltown Supersound. Produced by Carmen Villain. Flute performed by Johanna Scheie Orellana. Mastered by Matt Colton.

Observable Future

Taken from "Yesterday Was Dramatic – Today Is OK" (20th Anniversary Edition) out on Morr Music 2019-08-30
Tourdates:
Sep 17 – Rote Fabrik – Zurich (CH)
Sep 18 – Maroquinerie – Paris (FR)
Sep 19 – Church of Laken – Brussels (BE)
Sep 20 – Neuadd Ogwen – Bethesda (GB)
Sep 21 – Union Chapel – London (GB)
Sep 22 – Church of Sint-Denijs – Kortrijk (BE)
Sep 26 – Planetarium – Berlin (DE)
Sep 27 – Planetarium – Berlin (DE)
Sep 28 – Aglomerat – Moscow (RU)
Sep 29 – Opera – St Petersburg (RU)

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Lp/Cd/Digital

Múm: Random Summer (Hauschka Rework)

"Reiterations" by First Tone from "Reactions" 2xLP/Digital due out October 2019.