wonderful song. the guitar really reminds me of the music of Jason Molina

Take leave of your earthly confines for a while with the  mismanaged microdosing folk of Japan's Satomimagae as grazed guitar & spectral sounds cling to her bruised but beautiful voice in this hazy otherspace.  https://satomimagae.bandcamp.com/album/hanazono

From fragments.
Learn more here: https://smarturl.it/there005

fragments

clarity

Rachika Nayar - clarity

Shebang

Second track from the new Jon Hassell album 'Listening To Pictures (Pentimento Volume One)' - Out now:
smarturl.it/listeningtopictures

Following the news last month of the first album in nine years by Jon Hassell, Ndeya Records is proud to share the second piece of music from Listening To Pictures (Pentimento Volume One). Whereas first track “Dreaming” utilised a repetitive, pulsating structure of lush texture, “Pastorale Vassant” deploys a different style with it’s skittering, insectoid, electronic gamelan sound. 

It has also recently been announced that to coincide with the release of the album, Jon will be making a rare appearance in New York City, reading excerpts from his forthcoming book The North And South Of You. The writing expands on some of the thinking that has underpinned his musical work for the last 40 years since he coined the term ‘Fourth World’ to describe his graceful interface of deep tradition with new technologies.
https://issueprojectroom.org/event/jon-hassell-riffs-hyperopia-and-music

JON HASSELL ON “PASTORALE VASSANT”:
"Hillside Pastorale" in the Catalan dialect of Spain.

I was staying in Deya, on the island of Mallorca at Mati Klarwein's house where flocks of goats roamed in the hills at night, each one with a slightly different neck bell. One balmy Summer midnight I stayed awake to record this floating, constantly-changing "gamelan" that enters in the distant background halfway into the piece.

Asked to say something about the piece, I listened again and, sure enough - "Twittering Machine" - the title of a Paul Klee painting of 1922 popped into my mind. Although I knew his work for years and his Pedagogical Sketchbook was in my library, the "twittering" title was what stuck to me and I had only a vague memory of the painting. But when I looked at the painting while listening I was amazed at how they reflected off one another in a kind of unintended "tone-painting" way (where the picture sounds like the music and vice-versa).

This highlights the difference in "Listening to Pictures" as the title of the record and "listening to pictures" programatically (i.e., does the music paint the picture like the title?)
 
Another notable comparison here is how two possible angles on "listening" appear:
1) programmatically - where features of the "painting" are being evoked as in "tone painting." (Debussy - La Mer)
2) in the meaning of the title, Listening to Pictures, where vertical listening facilitates perception of shapes and a heightened consciousness of the entire audio spectrum which leads to your own "internal paintings."

NOTE: THESE ARE NOT MUTUALLY EXCLUSIVE!!

© 2018 jon hassell

Jon Hassell - Pastorale Vassant

Order 'Venus in Leo' at: ghostly.com/products/venus-in-leo
Or at the retailer of your choice: Ghostly.lnk.to/HTRK-Venus-in-Leo

Venus in Leo

HTRK - New Year's Day

First Terrace Records have the honour to present an album of new work by influential and idiosyncratic artist K. Leimer.

Kerry returns to First Terrace with his first full length on the label following his part on the 12” split series with FTS001. The album finds the composer working in a solemn & focused mode, rendering deep sonic landscapes that shimmer, sink into themselves and play host to a slowly emerging carousel of auditory apparitions. 

Emerging in opposition to the sunless days & countless distresses of current US politics, each track is imbued with a refreshing sense of equanimity - in Kerry’s own words, "Authoritarian ideas that have persisted somewhere in the depths of human nature for millennia have resurfaced at a crucial moment for the environments we all inhabit — natural, cultural, intellectual and economic. The power and influence of this ideology will again prove catastrophic, as it already has for many people in many parts of the world. Authoritarianism, along with the refutation of our shared responsibility to one another and to objective knowledge in favor of personal gain & gratification consistently lead to disaster. Yet, somehow, a significant number of people seem to feel that this time will be different. To some extent they are right. It will be infinitely worse. 

Irrational Overcast is preoccupied with the perpetual failings of human tribalization, of assuming dominance over nature, of choosing belief and ideology over objective reality. The impetus was brought into immediate focus by the destructive impulses and actions of such excrescences as the Trump Administration and his republicans, as well as the blatant dishonesty and bigotry of thousands more retrograde, ill-informed nihilists operating in and outside the pubic sphere. 

I do not profess that music — especially an experimental, lyric-free music — can change or influence such circumstances. But this is the context in which we now live, and this has shaped the music of Irrational Overcast — a coping mechanism for living under clouds of baseless beliefs and simplistic ideologies that disfigure and stifle what is an admittedly difficult though really quite lovely world. Music, to my mind, can not clearly express anything so literal, or metaphoric, or allegoric — but Irrational Overcast makes the effort to articulate the problems created by some enduring and banal aspects of human behavior. Which is the reason it is built of lo-fi, deformed emergent or regressing or fragmented phrases, subsumed by distortion, noise, wow and flutter… and played with the understanding that there can be no more bedtime stories.”

The album is released worldwide on July 5th, on LP & digital formats, with artwork featuring images from Richard Misrach’s series of photographs documenting American petrochemical landscapes. A limited run of 30 editions will be made that include a bonus tape titled ‘Irrational Clearing’ - featuring two beautiful long form tracks from the Irrational Overcast sessions.

Irrational Overcast

Order the LP

K. Leimer 'Uncertain Instruction'

Super Natural is a spell spun by the inner guides: sometimes they have your best interests in mind but other times....you're wanting it to go this way...

Jonnine’s songs swim in part-spoken, part-sung suspension, sophisticated wordplay amid languorous instruments and devotional invocations with allegorical weight. Imagined as a soundtrack to the surreal Venice-set feature film she and @Zebrablood (Blazer Sound System / Psychic 9-5 Club) are destined to one day make together, it is a testament to eight years of friendship and musical / visual collaboration. Super Natural has a chimeric quality – fleeting and, like any good thriller, pulsing with potential but paced with restraint (as Jonnine says, "it’s what you don’t see that keeps you imagining").

Jonnine’s first solitary offering carries the refinement of her work in the Australian band HTRK. With this EP, a creative block was overcome after years of being urged by her therapist to forge a solo musical identity. It began with a first attempt to play her brother’s broken stringed guitar, unused since 2001, and became these four songs. Written and recorded in Puerto Maldonado, Peru, Big Island, Hawaii and Dandenong Ranges, Australia

Starless and clandestine, the spoken-word delivery of “You’re Wanting It To Go This Way” is streaked with discordant guitar, tripped rhythm and sanguine, fluttering melodic ornament. A rapt rendering of self-sabotage, but patient and alluring, this introduction is reminiscent of Leslie Winer’s Witch.

“I Don’t Seem Myself Tonight” confesses ethereal harmonies with waveless vocals, earthy strums and keyboard sceneries (in Sceneries Not Songs likeness). A tribute to love at first sight as a little death. Subconscious gong in whale tones from Mona Ruijs (Sound Interventions).

The penultimate “You Can Leave The Vampires” is fettered by guitar from HTRK bandmate Nigel Yang against a moody, cautionary libretto. This collaboration yields ritualistic results as the object of the spell is appealed to break with an addictive game of chance by the overlapping mantras “If I can leave you / you can leave too” and “Please, you can be free”

The playful “Scorpio Rises Again” simmers with Audrey Horne cheek; bass guitar, finger clicks and a whistle from Conrad Standish (CS + Kreme) in beguiling denouement.

With stories unlocked by the interior dreaming of Super Natural, Jonnine and Nigel’s collaboration as HTRK opened up and new material (their 2019 album, Venus in Leo) sprang forth immediately after. The inner guides may delude when kept quiet: their expression is a way towards healing, even their most haunted song.

Written by Jonnine 
Produced by Jonnine and Nathan Corbin
Mixed by Nathan Corbin

GMV03 Jonnine - Super Natural 12" (Snippets)

*debut LP Temporary Music out Jan31 2020, vinyl now shipping*
http://asatone.bandcamp.com
_
Asa Tone is Jakarta-born Melati Malay and New York based Tristan Arp and Kaazi. In January 2018 the trio travelled to Indonesia during Melati’s annual return home, set up a temporary studio in a house nestled in the jungle’s canopy and recorded a series of improvisational pieces together, later edited for brevity. The music incorporates both digital and analogue processing and largely draws upon the groups collective voice, a small selection of instrumentation (Rindik, Moog Sub 37, Infinite Jets, Suling) and their immediate environment. Despite this, they aimed to record a kind of music together that doesn’t seem to come from one specific place, but instead, from everywhere.

The result is an idiosyncratic voyage of equatorial excursions in voice, mallets and synthesis, both transportative and fluid, yet firmly grounded in the earth. Cyclical, randomized patterns grow and blossom during these often delicate and heartfelt renderings, staying with the listener long after both sides fall silent.

Temporary Music LP will be released on January 31 2020 on Leaving Records. It is the group’s debut album.

VINYL

Asa Tone - Visit From Tokay

from Homescreen Glow full-length album lands Nov13
https://brinsound.bandcamp.com/album/homescreen-glow

Brin - Soft Gaiden

Purchase: bit.ly/3oh8DpK
Catalog #: GN59
January 22, 2021
CASS+DIGI

Ever the aural adventurer, Carmen Villain has long traversed a boundless array of sounds, deftly moving from art nouveau pop to fog-laden avant-dub. Yet at every artistic turn, the Norwegian-Mexican’s chameleon-like charm seldom loses its alluring, organic beauty. Fresh off her contribution to 2020’s A Little Night Music… compilation, Carmen joins Geographic North’s Sketch for Winter series for its 9th installment. Perlita, named after Carmen’s grandmother living in Puebla, Mexico, is a sweetly somber reflection on the ever-present cycle of and hibernation and reemergence.

The A side begins with “Everything Without a Shadow”, a wide-angled and windswept vista of expansive permafrost and still-glowing embers of a recently extinguished fire. A sign of life in an otherwise desolate place. “Two Halves Touching” continues to drift through the frigid scene, lightly pulsing underneath a muted but vibrant tundra until coming upon echoes of voices chanted into the snowdrift. “Light in Phases” follows the cue with hurried hesitance, uncovering a sonic slush of radiant zither, blurred voices, and calm resolution.

“Things That Are Solid” begins to thaw the B side, strolling through newly uncovered verdancy, welcoming murmurs peeking out of the snow. With “Molina”, any last remnants of Winter have disappeared, leaving only a solemn suite of piano motifs breaking ground like seedlings bursting to life. With help from Johanna Scheie Orellana on flute and alt-flute, the album’s closer “Aqua Azul'' floats along with unencumbered motion like a happy stone skating across a tranquil pond.

Satomimagae - Numa

RVNG Intl.

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