sleepiest warrior 🐢

travail_2024

00:00  プリオシンの浜辺 (with Wave)
18:04  Still Silent -for S.A.- (with Wave)
29:40  Land Scape -for J.C.- (with Wave)
42:53  ジョバンニの悲しみ (with Wave)

プリオシンの浜辺

Kenichiro Isoda - プリオシンの浜辺 [1990] [Full Album]

"waterlilies in fontiform" [framework editions, 2023] 🪷

Such an honor to be part of framework radio’s seasonal issues with a new piece of fontiform music! 

> listen/download: frameworkeditions.bandcamp.com/album/framework-seasonal-issue-14-summer-2023

Thought as a continuation of the work "for scarpa's fountains” [forms of minutiae, 2020], the composition "waterlilies in fontiform" weaves field recordings made in, on, and around the Tomba Brion in San Vito d'Altivole. Designed by the Venetian architect Carlo Scarpa in the 70s, this burial ground materializes as a garden guided by a multitude of lines made of concrete, metal, marble, and glass. Yet as one wanders in this peculiar landscape, one soon realizes that concrete isn’t the tomb’s primary material, water is. As if submerged, the graves are encircled by basins interconnected by a network of fountains, rivulets, and pipes. Water striders, sporadic frogs, vibrant fish and tapestries of waterlilies glide over sunken pyramidal stepped edges, echoing ruins of bygone architectures. An aqueous rhizome at the heart of the garden which steers us through the whole sanctuary. The composition brings listeners into the various materialities of the space and the underwater hums of the fontiform network's machinery. Moreover, subtle algae photosynthesis, muffled voices of human visitors, and the garden's avian inhabitants infuse with life the architect's carefully organized matter. Ambiguous feelings arise as if perched in equilibrium on the crests of the tomb's multifarious structures. The piece ends with openings (both geographical and temporal) as the uncanny murmurs of the flowing waters are joined by the drones of another (temporary) Venetian fountain, Claire Tabouret's sculpture "Deux Baigneuses'', before fading into the vespertine soundscape of a small Portuguese village. A midwife toad calls in the darkness, bells resound in a valley, as Brion Tomb’s architectonic specter lingers in the flowing waters.

> Note: Tomba Brion is also the resting place of Scarpa himself, who shared that "the place for the dead is a garden".

> Recorded in the Tomba Brion in Altivole (april 2022), Palazzo Cavanis in Venice (april 2022), and in Peneda-Gerês National Park (may 2023).
Recorded with Aquarian H2a-XLR hydrophone, LOM Uši Pro, LOM Geofón, SoundDevices MixPre-6 II, Sony PCM-D100.

download

waterlilies in fontiform [framework editions]

Slow and low sounds from NYC’s downtempo wonder duo, ahead of their debut joint London performance. 
https://www.nts.live/shows/guests/episodes/natural-wonder-beauty-concept-8th-october-2023

Natural Wonder Beauty Concept 081023

Yumi Iwaki - Smoketree

Taken from ‘Perfect EP’, out everywhere June 28th.
https://cutedoor.bandcamp.com/album/perfect-ep

Featuring @18plus18plus18plus

Official music video: https://youtu.be/toFaxp7VnY8

Written by Cute Door & 18+
Produced by VOOR
Mixed by Cute Door & B.Leo
Mastered by B.Leo

Secrets (feat. 18+)

From Moon in Gemini
Available September 6, 2024
Listen / Buy: https://lnk.to/rvngnl104

Follow Isik Kural
INSTAGRAM: https://www.instagram.com/isikkural/

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©2024 RVNG Intl. // https://www.rvng.com

Moon in Gemini

Almost a Ghost

Almost A Ghost

A Stream With Bright Fish

WRWTFWW 019 / PF 006 
First track from 'Through The Looking Glass' reissue coming March via WRWTFWW & Palto Flats (EU/US).  LP & CD editions.
http://wrwtfww.com/album/through-the-looking-glass
http://paltoflats.com/release/midori-takada-through-the-looking-glass

Through The Looking Glass

Midori Takada - A1. Mr. Henri Rousseau's Dream

Tape loops flowing through Roland Spaece Echo RE-201 + Small modular synth + pedals + Four Track Fostex X-18.

Romero

Leif - Loom Dream LP
Release Date - 21st June 2019
Buy -https://whities.bandcamp.com/album/loom-dream

June 21st 2019 sees the release of Leif's 'Loom Dream’ LP. 

Made up of six tracks but presented as two ~17-minute pieces, the record meanders through warm chordscapes, glistening synths and loose live percussion, weaved together with field recordings and ambience. 

Loom Dream invites us to peacefully reconnect with the living world by placing us amongst lush sonic verdure. 

An interactive site created by Joseph Pleass and Alex McCullough accompanies the release, where users can navigate a virtual world, learning more about the plants referenced throughout the record (the site is best experienced on mobile via chrome) - whiti.es/020/

Leif - Loom Dream - WHYT020

Artist: GES
Album: Anthology of American Pop Music
Label#: faitiche22
Format: LP/DL
Release: Oct 23rd 2020

Six great pop standards remembered: five pop songs are dissected by sampler, stretched, compressed, and re-collaged. In this way, their identity is lost. What remains is a vague concreteness: flashes of déjà vu and remote echoes that evoke the original.
 
GES (Gesellschaft zur Emanzipation des Samples)
Active members:	Helmut Schmidt, Jan Jelinek
Founded: 2009
Headquarters: Federal Court of Justice, Karlsruhe, Germany

GES Glossary (excerpts):

- Acoustic Surveillance Series
A 7-inch vinyl record series curated by GES focussing on historical methods of acoustic surveillance. Each record introduces a surveillance system from the past. Starting with Uguisubari in 2017, the series will continue with the release of Oreccio di Dionysio in 2021. GES is open to further suggestions on this subject.

- Circulations
What happens to copyright claims when music from a passing car is captured in a street recording? Is it legal to use this recording freely or is it necessary to obtain licensing rights? Circulations re-enacts this recording situation: audio players are placed in public spaces, where they reproduce the desired sample material. The acoustically choreographed space is then recorded, creating a field recording in which everyday noises circulate together with seemingly incidental music.

- Emancipation of Sampling
Fuelled by its criminalization, the act of sampling existing recordings forfeited some of its artistic prestige (see Sampling). GES wishes to rehabilitate and re-emancipate the practice of sampling as a form of art in its own right. Strategy: 1. Name samples and sources explicitly. 2. Choose samples that are as popular and as recognizable as possible (Beatles, Carpenters, etc.). 3. The editing and manipulation of the sample must not compromise its recognizability (negotiable). 4. Use as many samples as possible. 5. Always name more sample sources than were actually used in the composition. 

- Field Recording
A compositional practice widely used in sound art and ethnomusicology that involves the recording of natural acoustical phenomena. Two additional requirements are usually imposed: The recording process should take place outside a studio environment, i.e. outdoors. And the person recording does not generate any of the acoustic material him/herself. GES expands this definition by introducing the concept of choreographed public space (see Circulations).

- Gambling
An acoustic event favoured by GES, already used in numerous sound collages (must take place in public). The most popular option is thimblerig, a cup and ball gambling game commonly played in the street. Compositional instruction by GES: Place an audio playback device in the proximity of a thimblerigger. Play works for orchestra (by Debussy or Mahler). Move slowly towards the gamblers with a microphone.

- Kraftwerk
The German band founded by electropop musicians Florian Schneider-Esleben and Ralf Hütter (a.k.a. Die Prozessoren) is the natural enemy of GES. Protected by computer-generated avatars, Kraftwerk operates a quote-hostile cultural hegemony. Their strategy: Install a special brand in the collective consciousness by means of a sophisticated system of quotations and references that may in turn not be quoted by anyone else. Other bands with such delusions of omnipotence: U2, Metallica.

- Sampling
Compositional practice whereby recorded music is fragmented, turned into sound collages and transferred into different contexts of meaning. Since the advent of affordable sampling technology in the 1990s, the music industry has been trying to criminalize and/or promote the practice. Both strategies are driven by the same principle: Profit.