Satomimagae - Dango (Colloid Version)
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Lyrics

うなばらまであと少し 
うなばらまであと少しだけ　
行こう (着こう)
落ちて (うなばらまで)
転がり落ちて (弾むステップ)
落ちていくステップ (弾むステップ)
いびつなステップで (落ちていくステップ)
行こう

転がり落ちて
いびつなステップで
転がり落ちて
いびつなステップで
うなばらまであと少しだけ (行こう)


Almost there to the ocean
Almost there to the ocean
Let’s go (Let's be there)

Falling (Toward the ocean)
Rolling down (Bouncy steps)
Steps of falling (Bouncy steps)
With the awkward steps (Steps of falling)
Let’s go

Rolling down
With the awkward steps
Rolling down
With the awkward steps
Almost there to the ocean (Let’s go)

Colloid

Dango (Colloid Version)

Satomimagae - Dango (Colloid Version)

from Ombrophilia, released in 2009 on either/OAR and re-issued on vinyl by Aposiopèse. Also available in digital format at bandcamp http://tomokosauvage.bandcamp.com/

Making of a Rainbow

Louise Landes Levi
From The Ming Oracle
Sloowax 004

Recording by Louise Landes Levi on traditional bowed harp or sarangi and Hilary Jeffery (who also plays with Catherine Christer Hennix) on trombone drone. Levi studied sarangi under the guidance of Annapurna Devi and Ali Akbar Khan.
Levi & Jeffery  interpret the perennial  tradition of Indian raga - informed by the deep dream of the 20th century & the visionary ensembles of the mid century: The Floating Lotus Magic Opera Company (Daniel Moore) & The Theatre of Eternal Music (La Monte Young & Marian Zazeela). Also an accomplished poet, the LP comes with a booklet with a selection of poems from ‘Tower 2/TARA or dc-x’, which was originally printed for the funeral  rites of Simon Vinkenoog. Edition of 300 copies.


Louise Landes Levi

Synthetic Birdsong

In the Lens, Solo Andata’s fourth full-length album, was born from recordings found in the interstices of decades-old hard drives, lost email threads from disused accounts, and forgotten samples recorded on cassette dictaphones. These fragments were combined and re-worked with newer elements to create an album very much in the spirit of the band’s debut Fyris Swan (Hefty Records, 2006), an album touched by both folk and jazz and swathed in a dusty, narcotic haze.
Solo Andata’s Kane Ikin and Paul Fiocco have always pushed aside the digital studio in favor of a more haphazard and hands-on workshop vibe to their productions. They prefer near-broken acoustic instruments, cheap microphones and, as can be witnessed by their live performances, tend to turn anything they can get their hands on into a beautiful sound-making object.

While there is a raw and guileless nature to the duo’s sound it is precisely this that makes their music so powerful amidst the over-produced cliches of much modern music. The beauty of their work is how simple instruments and objects can be physically manipulated into creating such rich, layered sound. Dark, swaying, almost-looped melodies from piano, woodwinds and horns wrap themselves in smoky obscurity around remnants of percussion and warm beds of noise and the world around us.

In The Lens is very much a late-night record, reflected in the rain-soaked cover imagery, dripping with half-forgotten memories. Jittery yet calming, rhythmic, yet unhurried, it leads you down its dark corridors to a soft resting space. Ikin and Fiocco have created a new story around the chemistry of their creations that were taking place during the early days of their musical explorations.

In The Lens

Separate Lovers

Configurations

Looks Frozen

Artist: ASUNA & Jan Jelinek
Album: Signals Bulletin
Label#: Faitiche18
 
Faitiche is delighted to announce the release of a new collaboration between the Japanese sound artist ASUNA and Jan Jelinek: the album Signals Bulletin brings together joint improvisations and compositions made over a period of three years in Berlin, Kyoto and Kanazawa. ASUNA’s meandering organ drones merge with Jelinek’s pulsating synthesizer and field recording loops to create dense superclusters that span broad harmonic arcs.

-

Watching the Japanese sound artist ASUNA playing the organ, some people might be surprised. ASUNA is no virtuoso flying over the keyboard in a rage. Instead, with the calm gestures of an office worker, he cuts strips of adhesive tape to the correct length before sticking them onto the keys of his instrument. In this way, large clusters of keys are held down, creating a dense and sustained range of frequencies, while the sound artist continually prepares further sets of keys or removes tape again. I have rarely seen a more convincing performance concept, with such a power to fascinate.

I first met ASUNA when we both gave a concert at the 21st Century Museum of Contemporary Art in Kanazawa, his home city. He performed the organ drones as described above and I immediately knew I wanted to collaborate with him. Six years and five meetings later, we completed Signals Bulletin. The album includes both joint improvisations and compositions, recorded in Berlin, Kanazawa and Kyoto.

Whether using prepared organ, Casio keyboards or mechanical plastic toys, ASUNA creates rich textures of sound that barely change over long stretches of time. It is a music without breaks. For a while, I was unsure how my loops made using modular synthesizers and live sampling fitted here – until I realized the role I had to take in this duet: I would provide the rhythmically pulsating foundation over which his dense continuums could unfold.

The result is harmonically drifting superclusters that put us into a meditation-like state. It can perhaps be compared to Automatic Writing – a mode of creative expression floating somewhere between concentration and distraction. Both the structure of our pieces and our approach to our instruments allow a similar “absence”: we let the machines play and repeat themselves – while we, in a mild form of trance, adopt the role of observers, intervening only occasionally.

It is no coincidence that ASUNA owns a collection of Doodle Art – drawings jotted down during conversations or while talking on the phone. It is said that works made like this point to the unconscious and reveal pet motifs – because a doodler always inadvertently returns to his or her favourite themes. The artwork for Signals Bulletin features pictures from the collection, in this case sheets of paper from the pads provided in stationery shops to test out pens. The special quality of such doodles is that the jumble of drawings is the work of a collective whose individual members do not know each other. Layer by layer is added, by someone different each time – until it becomes a dense cluster of lines and symbols ...
Jan Jelinek, Berlin 2018

ASUNA & Jan Jelinek: Relief, Pt.1

Track 2 from Lea Bertucci 'Resonant Field' [NNA120].
Available July 19th on Vinyl, CD, & Digital formats.
http://nnatapes.com

Resonant Field

Lea Bertucci "Warp And Weft"

PRE-ORDERS NOW AVAILABLE

"Both pieces are intended to aid the listener in times of spiritual change, but are just fine for 'everyday' use as well. Highly recommended." Charles S. Russell, Ear Magazine


Pauline Oliveros' Tara's Room has long been a favorite in the Imprec office and it's a great honor to be able to release it on LP for the very first time. Tara's Room was cut by John Golden and pressed at RTI in order to achieve a quiet, dynamic pressing. Originally released on cassette in 1987 following the 1986 release of "Sounding / Way" with Guy Klucevsek which is also available on LP via Imprec. 

This LP features two long sides of infinite depth and sensitivity. Oliveros performs these pieces using a Just Intonation accordion and her Expanded Instrument System in order to bend both time and pitch. 


Pauline Oliveros, composer, performer and humanitarian is an important pioneer in American Music. Acclaimed internationally, for four decades she has explored sound - forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it, and eludes many who try to write about it. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment is unchanged. She can make the sound of a sweeping siren into another instrument of the ensemble.

"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." ~ John Rockwell

"Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." ~ John Cage

Pauline Oliveros - The Beauty Of Sorrow - Tara's Room LP - Pre-Order Available

P.L.U.R.

Time Swim

The long-awaited compilation of "Si us plau" by Chilean label @iranwymorganizacion

The collection consists of 12 tracks, which includes artists from Chile, Tunisia, Spain, Russia, the United States and Denmark.

The compilation also includes my new track Dalila Delarosa - Don't fade away. This track is associated with the most pleasant feelings and memories. This is the first time I've used my voice in music.

I am madly glad and grateful to everyone involved. Listen and dive

Satomimagae - Dango (Colloid Version)

RVNG Intl.

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