Far far away in the infamous Saint-Etienne Kingdom live and breath Anouar Redjem Cheibane, Guillaume Lamorte & Jacques Satre. The three members of Le Marais surfaced from the gloomy waters of 2020 fall to gather balearic, folk, new age and ambient trance inspirations over an amazing eponymous LP on French Besoins Premiers.

Following the label taste in flowery, poetic music (with Organizatsiya's 'Strane Leoni', Lenny Frings' 'Ontological Outlines' or Modeux des Cieux's 'Constant Run'...), the trio definitely defined its own touch with this 11-track release, made of dreamy synths, autotuned lyrism & spoken words, tremendous electric guitar leads and nebulous sounds, set against an ogre-and-fairy-tales medieval background.

300-vinyl edition to be released during the summer:
https://besoinspremiers.bandcamp.com/album/le-marais

------
FEEL THE SPIRIT
Bandcamp: bambooshows.bandcamp.com/​
SoundCloud: soundcloud.com/bambooshows/​
Facebook: facebook.com/bambooshows/​
Instagram: instagram.com/erevan_bamboo/​
YouTube: https://bit.ly/YouTubeBambooShows
Spotify: bit.ly/SpotifyBambooShows
Web: www.bambooshows.com​
Discogs: bit.ly/DiscogsBambooShows
Mixcloud: mixcloud.com/bambooshows/​
Contact: bambooastruth@bambooshows.com

℘ཞɛɱıɛཞɛ ≈ Le Marais - Drain The Swamp [Besoins Premiers]

Taken from the album 'Piano Muisc 1-7' released as LP, CD and digital.


Editions Mego is proud to welcome Powell to its roster with a bizarre and strangely emotive new LP of synthetic computer works entitled Piano Music 1-7.

Via his own Diagonal Records imprint, his work on XL Recordings and, most recently, the opening of audio/film platform A Folder [afolder.studio], Powell has firm footing in the contemporary electronic landscape. During a wry and obstinate musical life he has twisted myriad synthetic forms into shapes that explore and expand upon the districts of post-punk, techno, noise + computer music, and in the the last year alone he has released four albums of hi-def abstractions, each inspired by a formalisation of music proposed by Iannis Xenakis. 

As an extension of this intense period of work/research/play with stochastic functions [using probabilities to compose music], various processes emerged that Powell then began to apply to more traditional musical events. Where ordinarily in his work the probabilities and relationships are used to define parameters such as wave-shape, folding, FM, filter modes etc., he now began to use them to create musical formations and visual scores that could be played back using any software/MIDI instrument [one of these can be seen on the rear cover of the LP release]. While mapping out this cartography of relations, he used a basic Grand Steinway sampler as a placeholder instrument; the longer the process went on, though, the more he began to embrace the acoustic properties of the synthetic piano and make it the bedrock for this new constellation of work. 

Piano Music 1-7, subtitled ‘Music for Synthetic Piano and Assorted Electronics’, consists of seven different synthetic islands strung together into a single composition. All were composed using the aforementioned processes that allowed Powell to play a piano, even if he never learned to do so with his hands. After all, ’In writing electronic music,’ Robin Mackay once wrote, ‘you also have to direct the invention of new tools.’

At times the piano skips gleefully over shadowing synthesis, whilst at others the synthetic sheets swarm and envelope the keys. The interplay between the two create a fantastical alternate reality, a cosmic machine in which time is eroded, shrunk and expanded, like a wax upon which operations and relations are inscribed or engraved. Many of the pieces express a playfulness or optimism verging on vitalism, as bundles of piano notes dance and interpolate with a never-repeating range of electronic gestures. The feel is of a brightly coloured flower-bed in various stage of bloom. This interplay of the [artifical] acoustic and the electronic builds on the pioneering processes developed by David Behrman in works such as Leapday Night, and Piano Music 1-7 could also be posited as a modern take on Conlon Nancarrow’s investigations for player piano. Similarly, the razor-sharp sonic properties and unfolding of non-human events recall the computer works of Xenakis and the surgical precision of Mego mainstay Florian Hecker.

Recorded in late 2020, these new Powell works propose not just a bold and bright vision of electronic music but serve also as a map with which, for 35 minutes at least, we can navigate our way out of the current milieu. As the artist himself remarks in the sleeve-notes, ‘. . . What emerged from this fog or soup [for me] were ideas and processes that felt affirmative and life giving — sensations I had always hoped to convey in my music. Perhaps the optimism or positivity I felt at these musical events unfolding, these clusters and knots tumbling in different directions across time, can also be felt by you.’

Music for Synthetic Piano and Assorted Electronics

Composed and recorded by Powell, 2020
Mixed by Powell and Tobin Jones at The Park Studios, London
Mastered by Russell Haswell

Art direction by Guy Featherstone
Photography by John Cronin

Powell 'Piano Music #1' (EMEGO 301)

A woman moves back to her rural home town in Manitoba where her brother Modeste has been raising the woman's daughter with his wife.

Ste. Anne (Original Soundtrack) released October 1, 2021.

Side A- Ste. Anne Original Soundtrack by B.P., Andy Rudolph & Kelsey Braun
Side B- Ste. Anne Original Soundtrack loops by B.P.

@bretparenteau @makadestar

Purchase: https://makadestar.bandcamp.com/album/ste-anne-original-soundtrack

Format: Cassette & Digital
Info and trailer here: www.imdb.com/title/tt14091768/
More info: www.facebook.com/ste.anne.film.2021

Support the artist

Premiere - B.P. & Andy Rudolph - Ste Anne

Satomimagae - Dango (Colloid Version)
Learn more: https://smarturl.it/rvngnl89

Follow Satomimagae
TWITTER: https://twitter.com/satomimagae

Follow RVNG Intl
TWITTER: https://twitter.com/rvngintl​​
INSTAGRAM: https://www.instagram.com/rvngintl​​
YOUTUBE: https://www.youtube.com/user/RVNGintl​

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)

Artist: KENT TANKRED
Title: THERE IS NOTHING TO ATTAIN
Format: 2xCD / Digi
Artwork: Philip Marshall
Liner Notes: Johannes Bergmark
Edition of physical copies: 200

CD 1
1-1 Kökkenmödding 1 13:09
1-2 PSR-266 6:55
1-3 Maelstrom 10:00
1-4 Pulsar 16:49
1-5 Divertimento 14:02

CD2
2-1 Kökkenmödding 2 10:14
2-2 There is nothing to attain 2 15:52
2-3 Dialog 7:34
2-4 Obsession 2 14:00
2-5 Pots 14:54

*

Kent Tankred (b.1947) is one of the true hidden masters of Swedish electro-acoustic and experimental music. Tankred studied at Elektronmusikstudion in Stockholm in the early 70s and he has released a sparse catalogue of fine works, mainly for his and Leif Elggren’s Firework Edition Records as well as Ash International. In 1995 he put out the extremely strong album ”Ordinary Things” on Fylkingen Records. ”THERE IS NOTHING TO ATTAIN” is his first albums since the 2010 CDr with the same title. - iDEAL.

*

Music is not like people. Nonetheless most music tries to pretend it is human, imitating their movements, feelings, attributes, even opinions.

Kent’s music doesn’t pretend to be anything. One quickly forgets there could be a human behind it, even though it may have arisen from some profound game, a concentration on some discovery, combination,  principle.

The music is naked, or rather unclothed, inhuman, at the first encounter reminding you of everything you would prefer to avoid: leaf-blowers, neighbours drilling the wall, machinery grinding, a screwdriver stripping the thread with a careless move, electric warning signals, all on top of each other.  

A recent radio programme was discussing whether the phrase “human error” should be replaced by the less recriminatory “human contribution”. Meanwhile a submarine has sunk into an ocean chasm and the 53 aboard who might still be alive will run out of oxygen before they can be reached. A struggle between man and machine.

But here there is no struggle, the machine is likened to any other natural phenomenon. It just is, does what it does, or doesn’t, in its own time which is neither fast nor slow since it doesn’t have to be compared with anything, has no purpose, no significance, is neither good nor evil. A god like Einstein’s, indistinguishable from nature in its entirety. A galaxy does not rotate in order to be beautiful or strong. A fan does not make something flap about randomly in order to trace a certain pattern.

In the starkly dystopic early science-fiction film On the Beach (1959) a Morse signal is detected from a region where all life should have been eradicated by the atomic winter. An expedition is sent to resolve the mystery. In a completely lifeless industrial zone they find that someone, before the radiation wiped them out, had hung a coke bottle on a string from a roller blind balanced so that the random flapping of the blind caused the bottle to press the telegraph key, producing a haphazard stream of code which inevitably from time to time formed meaningful words and phrases.

I am hard put to explain what it is than can suddenly make the music so entertaining, so jocular in the midst of this objective, mundane mangling. Yet one does get reminded at some point that someone is behind all this, has discovered or molded, has chosen this; perhaps not a joke but pure serendipity.

Just as things originate so must they vanish, by one decision or another – a handbrake, a puncture, a flying catch. The process “concludes”, or purports to, as when someone suddenly wakes you from a dream which you forget immediately but retain the echo of a feeling. Or you are surprised by your parents opening the door when you’re in the middle of a game where you can’t remember whether what you’re doing is supposed to be secret or not.

And so the cauldron or the ventilation pipes spill out a bus garage, a swarm of drones, or those flying bicycles Leonardo had a mind to make.

- Johannes Bergmark.

Kent Tankred - PSR - 260 (from iDEAL209 2xCD)

reside

[LLM004]

A1 ... Exo | official video: http://bit.ly/llm004_yt
A2 .. Plus
A3 .. Errors
A4 .. Klint
A5 .. Torn
B1 ... Neoneon
B2 .. Airless / Portals
B3 .. Snake
B4 .. Sensor

Produced by Phil Struck. Mastered by Manes at SALZ. Artwork by Phil Struck. Design by Alex Ketzer. Video by Irwin Barbé and Louise Ernandez. Distributed by Noorden.

© 2017 LL.M. | noorden.org/llm

Klint

[LLM004] Phil Struck - Klint

Fahmi Mursyid - Lautan

A track from the album Thought Texture out now on Constellation Tatsu.

Opaline - Inside Sky

Subtly

Pauline Anna Strom - Equatorial Sunrise

From Angel Tears in Sunlight. 
Available February 19, 2021.

Learn more: https://smarturl.it/rvngnl69​

Satomimagae - Dango (Colloid Version)

RVNG Intl.