ethereal voices

Shade

Ode to the blue

Artist: Trip Shrubb
Album: Trewwer, Leud und Danz
Label#: faitiche 25
Format: LP/DL
Release: Oct 22nd 2021

Faitiche is excited to present, for the first time on vinyl, a selection from the 84-track (!!) remix project originally released in 2013 as a three-tape set by Trip Shrubb aka kptmichigan aka Michael Beckett. Known to many from bands like Tuesday Weld or The Schneider TM Experience, Beckett remixed his way through Harry Smith’s famous Anthology of American Folk Music – a compilation of American folk, blues and country recordings released in 1952, soon to become key point of reference for the emerging folk revival movement. Having translated the title into the local dialect of the part of Germany where he lives, Beckett began reinterpreting all of its 84 tracks using sampler, effect pedals and loops – sometimes making several tracks in a single day. A colossal undertaking whose results are beyond accomplished and that is summed up in the selection of thirteen tracks on Trewwer, Leud un Danz.
  

Murray Royston-Ward writes about Trewwer, Leud un Danz:

“Total sacrilege... 
A collection of remixes of tracks from Harry Smith’s Anthology of American Folk Music which was originally released in its entirety. The album is titled Trewwer, Leud un Danz (sorrow, song and dance) which is drawn from an endangered ‘Low German’ dialect (lippisch Platt) and is poetically approximating Smith’s volumes Ballads, Social Music and Songs.   The hardware employed encompasses analogue, virtual analogue and digital. A primordial soup of electrical fields, striated granulation, micro-circuitry, molecular oscillations and mathematical manipulation; communicating directly with the guitars, zithers, mountain dulcimers, fiddles, jaw harps, banjos, harmonicas and human voices of 1930’s America: itself a reterritorialization of African and European folk traditions that reach back farther and farther into our collective pasts. (…)” 

faitiche 25, 2021
Music by Michael Beckett
Mastering by Rashad Becker
Design by Tim Tetzner
Published by La Chunga
Label image by Giant Fox

Trip Shrubb: Wach Up, Jakob

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

"The Days Long" from Duane Pitre's new solo album "Omniscient Voices" - Out Nov 19th, 2021 on IMPREC.

Pre-order available via Imprec.com

Duane Pitre returns to Imprec with Omniscient Voices, an articulate, intense and emotionally resonant set of five pieces for justly tuned piano and electronics.

Omniscient Voices is a uniquely distinct work that follows Pitre's trilogy of releases which culminated with 2015’s Bayou Electric and included the critically acclaimed Feel Free (2012) and Bridges (2013) albums. Where those albums were rooted in long form pieces, Omniscient Voices is a collection of shorter pieces, offering more harmonic variety than previous works, with a unique sound and feel that is still unmistakably the work of Duane Pitre.

In 2019, after a five year period where Pitre did not focus on outward facing music, but instead on his own personal practice, a small idea in the form of a question came to him: would the combination of his latest computer- and electronic-based experiments, used in conjunction with justly tuned piano, produce interesting results; simply put, would it “work”? Concurrently, Pitre was studying a handful of Morton Feldman scores for their focus on tonal clusters, reading a book on Arvo Pärt’s life and work, and contemplating the pulse-based rhythms of Steve Reich and Phillip Glass.

In 2020, with no intention of making a new album, the composer tried to answer this question. The results would spawn five pieces that would become Omniscient Voices. On this new work, Pitre finds himself giving equal priority to both piano and electronics, utilizing his Max/MSP-based generative network to real-time convert precomposed piano motifs, into data, which is then used to communicate with two polyphonic, microtonal hardware synthesizers whose patches Pitre authored; this process generates the electronic component of the album. Pitre also utilizes controlled improvisation to interact with the piano-reactive electronics in a spontaneous and inspired manner, going back and forth between these two pianistic approaches. In all, this approach creates a “musical feedback loop” of sorts.

Despite Omniscient Voices being the culmination of 15 years of hard work and inspiration, this beautiful album somehow materialized in a natural, intuitive and effortless way (like any artist's best work.)

Mastered and cut by Golden and pressed at RTI for maximum fidelity.

Artist's statement:
“When making the pieces that would become Omniscient Voices, I often viewed the piano as human action, a single note becoming a single gesture that has the potential to change the electronic environment, the electronics becoming the environment surrounding that human in the natural world, who then has the power to change their actions based on their surroundings. All actions have consequences. The interconnectedness of everything. Single actions making waves of change.”

RIYL: Arvo Pärt, Morton Feldman, Steve Reich, Phillip Glass

Duane Pitre - The Days Long - from Omniscient Voices - Pre-Order Available

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

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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)

[60.016] w/ Vague Imaginaires

I Could Be Your Dog / I Could Be Your Moon

I Could Be Your Dog

lyrics:

everyone is leaving
everyones fading away
it’s gonna be like this
the light is at the corner store
light is at my home
the light is shrinking once again
i’m losing where the destination is
sitting at the barstool
my ex friends to the left side
i’m drinking looking like a fool
i wish i could say that im sorry
just for nothing
nobody cant stand it anymore
I get so mean
I drink myself to sleep
i text like I am always out of

embers

Indie singer-songwriter verses with ethereal touches and electronic instrumental choruses. Contemplative, nostalgic, spots of melancholy, and a bit of heat in the instrumental breakdowns. There are more songs related to this one in the works, including an instrumental that builds on the chorus material.

LYRICS:
Living here today on a road they'll never pave
It's a shame, there's a glimmer
There's a glimmer!
Turn around before it fades... too late

I hear it had a name and they sold that yesterday
It's ok, or not ok
But the river is muddier today
And those glimmers glow ever dimmer by the day
By the day

Waking up today a willing castaway
Puts a finger toward a glimmer
And it's brilliant for an instant then it fades
I swear

Gazing at some dirt, a hush floats in then bursts
And a million screaming shadows form a picture
that will soon go up in flames
Watch it closely as it decays
Disintegrates

Up there around the bend, a graveyard full of friends
No one tends golden patches
And the cabin is overrun with copperhead snakes

So shall we cross the golden meadow?
We'll go together now

And Those Glimmers (Prototype)

I learn the taste one more time, emotions crawling down my spine, learn to see it every night, they’re all the same everytime. Never seen shine so, brightly before, haven’t been the same since, before you turned on me. 

I learn the taste one more time, emotions crawling down my spine, learn to see it every night, they’re all the same everytime.

I learn the taste one more time, emotions crawling down my spine, learn to see it every night.

im not worth the time im givin (prod me)

Excerpts, fragments, edits and combinations of: 

Ströer Duo - Vietnam  
Jonathan William Scherk - Oh Softer
 Naná Vasconcelos - Dado 
Karlheinz Stockhausen - Studie II 
Kiyoshi Mizutani - Watering Place Under Kannogawa-Nokkoshi 
Savant - Heart of Stillness 
Matsuo Ohno - 映画｢惑星大戦争｣電子音響 
でいご娘 - クーダーカ
Knud Victor - Images 1 
Roberto Musci - Claudia, Wilhelm R. and Me 
Yasuaki Shimizu - Seiko 2 
Joel Chabade - Yum Yum 
Daniel Lentz - You Can't See the Forest 
Tomoko Sauvage - Jalatarangam Revisited
 Iannis Xenakis - Orient-Occident 
People of the Ituri Forest - Elephant Hunting Song 
Benjamin Lew / Steven Brown - Bamako Ou Ailleurs 
Michel Redolfi - Death Valley 
Martin Neukom - 18.5 
José Pivin ‎– Opéra Du Cameroun 
Andrew Pekler - Fonseca Winds (Lament)
Marion Brown - Afternoon of a Georgia Fawn 
François Bayle - Toupie Dans Le Ciel 
Duke Ellington, Max Roach & Charles Mingus - Le Fleurs Africaines

Originally broadcast on http://lyl.live/show/les-statues-meurent-aussi/

Juxtapositions

Tucked away in a shed in Portland, Best Available Technology continues to cultivate an unmistakable sound grown around a seemingly untiring exploration of the machines that he works with. Across ‘Enginetics & Plasmalterations’ his densely layered sonic design agglutinates with a healthy appreciation for the unplanned or unexpected, forming a polymorphic collection of tracks for the 6th release from 12th Isle. While more traditional means of classification have become increasingly insufficient, it wouldn’t be unfair to suggest that the music on this record bears a mutated resemblance to stuttered Downtempo or the dubbier side of Techno and Bass, connected by way of tonal plasticity through drone-jams and intermittently skewed synth loops.  
         Despite the frustrating limits of language surrounding music, we’re incredibly happy to welcome B.A.T. to the label with this release and would be well enough compacting the overview of it to the near molecular level by borrowing a phrase from the artist himself – Sonics Proper!

Best Available Technology - Enginetics & Plasmalterations (ISLE006)

Late Night Tales: Agnes Obel

Stretch Your Eyes (Ambient Acapella)

PROTO

Frontier

Strong, Calm, Slow

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.

Satomimagae - Dango (Colloid Version)

RVNG Intl.

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