Lend Me Your Radio - Feb 21

The most currently relevant selections of the immediate now: it's new!

CONTEMPORARY MUSIC: MARCH 2021

Get Closer - Mars 21

лес

Cool heat July 18th

Hype Machine Favorites Vol. 1

https://soundcloud.com/dimapantyushin
https://soundcloud.com/sasha-lipsky
https://soundcloud.com/timsweeney
Buy Release: https://www.juno.co.uk/products/dima-pantyushin-sasha-lipsky-peshekhod/811910-01

Peshekhod, the debut album from Dima Pantyushin and Sasha Lipsky, oscillates through an immaculate synth-pop ecosystem in which every shift feels both accurate in its absurdity and divinely danceable. 

The album (“peshekhod” translates to “pedestrian”) investigates the inner narrative of a Muscovite as he wanders through the city, recalls his work, and contemplates his existence. It’s roughly autobiographical in scope— Pantyushin was born and raised in Moscow, co-runs Cafe Enthusiast in the city center, and is a visual artist by trade—yet explores feelings universal. His lyrics conjure the nostalgia and joy of parenthood in “Ray of Sunshine,” the paranoia of metropolitan life on “Pigeon,” and the slippage of time on “Chess.” 

Fellow Moscow native and longtime friend, Sasha Lipsky, who writes and performs with his brother in Simple Symmetry, joins Pantyushin on production. Lipsky weaves entire sonic ecosystems for Dima’s instinctual observations and adroit lyrics. The result is a musical landscape that bounces between the terrestrial and the divine as Pantyushin’s croon and Lipsky’s synth-heavy compositions swell with aliveness. 

Pantyushin and Lipsky graft genres to their electronic framework throughout Peshekhod. “Nature” summons 1950’s pastiche complete with upbeat mellotron, while “Time” and “House (With an Attic)” go from ethereal ambient to subterranean techno and back again. But every oscillation and shift feels part of the same system. Pantyushin never strays too far from his pedestrian protagonist. He knows the best stories are the ones in which we can see ourselves, while Lipsky dresses each observation with earworms you’ll struggle to shake, even if you don’t speak the language. Peshekhod is a picaresque in miniature. A record that considers the stations of the day in deft detail, for all to tap into.  

Peshekhod features album art designed by Pantyushin and arranged by Will Work For Good. Peshekhod will be released on Beats In Space Records in March 2020 on limited vinyl and limitless digital platforms.

Tracklist: 

Tracklist:
1. Promenade
2. Book
3. Enthusiast
4. Ray Of Sunshine
5. Telephone
6. Changes
7. Pigeon
8. Inner Light
9. Nature
10. Chess
11. Time
12. House (with an attic)
13. Position
14. Crosswalk

Peshekhod (BIS048 - Promo)

Book

PREMIERE: Dima Pantyushin & Sasha Lipsky - Book [Beats In Space]

holding on,
know i’m not the only one
that you call
tell me i’m the only one

holding on

when i’m gone
tell her she’s the only one
that you got
tell me, who’s the crazy one

holding on?

holding on

Artwork by DOSS©
Photography by Alex Lee
Mixed & Mastered by Gabriel Schuman

https://www.doss.world

It’s the music ♫

Puppy

Pre-order / Stream - https://smarturl.it/bwnmz6

W. H. Lung - Showstopper

Turbulence - EP

Little Problem

ДЖЕТЛАГ (Jetlag)

Flashback Theme

Petals

Bandcamp: https://heyitsfrog.bandcamp.com/album/grog
Spotify: https://open.spotify.com/track/0zrg5hyp8Vu7YmbmCqTHkY?si=0d8560a23547449c

FFO: Jonathan Richman / Hall & Oates / Silver Jews / Townes Van Zandt / "The Secret of Monkey Island"

"Grog" LP Out Nov 17th: https://bit.ly/FrogGrogInfoPage

New York duo Frog (brothers Danny & Steve Bateman) return with their fifth album “Grog.” This collection of gorgeous Indie Americana is full of the nostalgia, hope, defeat and lust that earned previous singles “Judy Garland” and “You Know I’m Down” several million streams on Spotify.

Eclectic and wildly creative, this fully realized LP veers from the gorgeous grooving funk of “Black on Black on Black” to the classic pop of “Maybelline” before “New Ro” exemplifies the “gothic and cartoonish” characteristics that songwriter Daniel Bateman describes his latest work with. 

“Grog” will be released both CD and digitally on November 17th and launched with a performance at YoFi Fest 11 (Yonkers, NY) which accompanies a screening of their “Kings of Blah” documentary.

Artist Quote:

“There are really exciting places we were able to get to on this record, places that I didn’t know existed before I found them. It feels both gothic and cartoonish to me, big gargoyles, dark skies, storms, but the statues are of ‘Aaahh!!! Real Monsters.’ Every song is a step deeper into the abyss.” - Daniel Bateman (Frog)

Previous Support: NPR / BBC Radio 1 / BBC 6 Music / TLOBF / CLASH / Gold Flake Paint / London In Stereo /  DIY Mag / Various Small Flames / IMPOSE / Cereal & Sounds / For the Rabbits

Spotify Stats: 9.5 million streams / 78k monthly listeners (Oct 16th 2023)

Press Quotes:

“I was taken aback by its apparent simplicity; a simplicity that at first masked a wealth of subtle nuances, wry homages, and nostalgic narratives that were enough to make listeners lament growing up anywhere other than suburban America.” – The Line of Best Fit

“Locked between the unstoppable force of self-deprecation and the immovable object of the American Dream.” – Various Small Flames

“A subtle, stunning triumph.” – For the Rabbits 

“Utterly brilliant...they make you nostalgic for memories you never had and take you back to places you’ve never before been.” - London in Stereo

Grog

Black on Black on Black

If I Could Only Remember My Name

Orleans

Music for Nine Post Cards

Dance PM

Taken from the album Debris, released 17th January, on @theleaflabel. 

Pre-order:
https://keeleyforsyth.bandcamp.com/album/debris

Debris

Start Again

Andras’ Joyful is a cornucopic vision rooted in the decay of dance music from one of Australia’s most distinct yet understated musical voices. Cutting a path through an overgrowth of nostalgia around 70s acid folk and 90s acid house, Joyful is an invitation to till an old garden under a glistening new light.

On behalf of Andras, a portion of proceeds from this release will benefit the Invasive Species Council as a part of the ongoing Come! Mend! Initiative.

River Red

Off the single "In My Side" from the upcoming debut LP.

Inked In Red

PISTOL MY WITNESS (PROD. SENSEIATL)

Track from NE82 Anthony Linell - Winter Ashes LP
Out on EP and digital March 19th. Pre-orders on Bandcamp from March 5th.

For their first collaboration on an original audio-visual artefact, Ali M. Demirel and Anthony Linell have developed a stunning and unsettling work that studies the Icelandic landscape as a motor of mythology. Titled Winter Ashes, our senses search for logical order and signifiers with which to measure our relation to both the visual and aural elements, and by detailing the inhuman scale and structure of the region in this way, a hypnotic ambivalence regarding our place unerringly haunts the work. This edition is a snapshot of Linell's musical contribution at a moment of reflection in the project's enduring evolution. Far from being an acoustic summation of the collaboration, Linell has derived these pieces from his work with Demirel, retaining the name of the activity through which the album has arisen.

The nucleus of Winter Ashes is the relationship between landscape and mythology, a snare that binds us in contradiction. In its most common usage landscape refers to the visual indicators of any given terrain over and above any innate material properties. In its verb form it typically describes the agreeable construction and reconfiguration of terrain by the human hand. Our aesthetic preferences are from the outset privileged in the concept of landscape; our eyes are obeyed first. This is in distinction to mythology in which allegory upon analogy tells of but does not show the gods. Making sense of this nexus is to train our visual faculties towards seeing what is concealed, if not to merely search for an interaction with what is completely and surely unobservable.

Iceland's unearthly appearance is something else. It is conspicuously suited to the complexities of a task such as that which Winter Ashes imaginatively demands of it. It readily inclines toward the quality of the sublime. Situating this demand historically, Winter Ashes is inspired by the long and fragmented history of recording and retrieving Norse mythology, just as it is the mythology itself. The Codex Regius, a compendium of Old Norse poems that has been dated to the 13th century, and the Edda, a collective term for two volumes of medieval Icelandic literary works to which the Codex Regius is connected, both serve as points of reference. All were lost for periods of time throughout the centuries, and sections of each remain lost forever. As promptly as these documents tell the stories of Norse mythology, they register how easily they recede from written form back into the landscape. Though persistently morphing, it seems truer to look to the latter over the former as the eternal, volatile setting for these stories. Winter Ashes makes this ambiguous task its point of departure.

Words by Patrick Quick

Recorded by Anthony Linell in Gotland, Kebnekaise, Iceland and Stockholm 2019-2020.
Photographies by Ali M. Demirel in Iceland 2019.
Mastered by Neel at EnissLab, Rome.

Winter Ashes

Anthony Linell – Codex Regius

Dialect - Under~Between

From Under~Between.
Available March 19, 2021.

Learn more: https://smarturl.it/rvngnl67

Under~Between

Dialect - Under~Between

'Blues Alif Lam Mim' is available at https://blankforms.org/publication/chorassan-time-court-mirage-blues-alif-lam-mim-2xlp/

Having already unearthed three collections of archival ‘70s recordings by Catherine Christer Hennix, Blank Forms continues our annual illumination of the visionary Swedish composer’s music by turning to more recent work with this first-time vinyl edition of Hennix’s “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis,” a 2014 piece first released as a CD in 2016.

The double album captures the April 22, 2014 premiere of Hennix's composition by the Chora(s)san Time-Court Mirage, her expanded just intonation ensemble, featuring a brass section of Amir ElSaffar, Paul Schwingenschlögl, Hilary Jeffery, Elena Kakaliagou, and Robin Hayward; live electronics by Stefan Tiedje and Marcus Pal; and voice by Amirtha Kidambi, Imam Ahmet Muhsin Tüzer, and Hennix herself. Intended to reveal the blues’ origins in the eastern musical traditions of raga and makam, “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis” has its roots in Hennix’s 2013 realization of an “Illuminatory Sound Environment,” a concept developed in 1978 by anti-artist Henry Flynt on the basis of Hennix’s own “The Electric Harpsichord.”

As Hennix explains in Other Matters, Blank Forms’ 2019 collection of her writings:

“Rag Infinity/Rag Cosmosis presents fragments of 'raga-like’ frequency constellations following distinct cycles and permuting their order, creating a simultaneity of ‘multi-universes.’ When two such ‘universes’ come in proximity of each other and begin unfolding simultaneously along distinct cycles, there is a kaleidoscopic exfoliation of frequencies as one universe is becoming two, but not separated—the effect of cosmosis is entrained, binding two or more frequency universes into proximity where their modal properties interact and blend, creating in the process entirely new microtonal constellations in an omnidirectional simultaneous cosmic order with phenomenologically ‘transfinite’ Poincaré cycles (cyclic returns to initial conditions).”

As with Hennix’s best work, the organic unfolding of this quivering drone belies a precision that opens onto the infinitesimal. Upon its mesmerizing ebb and flow, the vocalists incant a devotional poem written in Arabic by Hennix and featuring quotations from the Quran. Also reproduced on the album’s gatefold jacket, Hennix’s reduction of the sacred text to its most elegant formulation invites the contemplator to bring their inner knowledge to the composition for use as a prompt for meditation. Yet the piece offers depth to even the most secular listener willing to immerse themselves in music brimming with such serene intensity.

Chora(s)san Time-Court Mirage - Blues Alif Lam Mim Side C

V/A — 0/1

A concept-album compilation composed by Shedir, Philip Sulidae, Monte Burrows, France Jobin, Emile Bojesen, Seth Cluett, Attilio Novellino, Stefano Tashi, anthéne, Luigi Turra.

Directed and curated by Edoardo Cammisa.
Artwork and artistic concept by Camilla Pisani.
Supervised by Angelo Guido.
Mastered by Marie Rose at FixInTheMix Labs.
Released by Sounds Against Humanity.

BUY LTD. CD / DIGITAL
https://soundsagainsthumanity.bandcamp.com/album/0-1

V/A — 0/1 (excerpts)

kt51

Taken from the album Caterina Barbieri - Fantas Variations released as 2LP and Digital

Dialect - Under~Between

RVNG Intl.