Rushes Recede, from Antiphonals. Out 10th September on limited edition vinyl & CD Pre-order now → https://latemusic.ffm.to/antiphonals

Rushes Recede

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"Flower Studies", the enchanting third album by Australia’s Blue Chemise, consists of eight intimate, delicate and touching ‘études’, reflecting Mark Gomes’ introspective musings on a series of floral studies by 19th-century French photographer Adolphe Braun (1812-1877).
More info: https://linktr.ee/BAADM

Blue Chemise – Chrysanthemum No 1

Tashi Wada - Duets LP (SLT-001)

Tashi Wada's Duets LP is the first release from Saltern, his new imprint distributed through Important Records. Duets features a recording of Wada's series of string duos brilliantly realized by cellists Charles Curtis and Judith Hamann.

From Curtis' liner notes: "How far can we enter into a single moment, such that for that brief speck of time, for an instant, unison is registered? This would suggest a different sense of unison, as a state of complete integration hidden behind the disparity and change caused by the passing of time."

Edition of 425. Recorded by Tom Erbe and cut at 45 RPM by Rashad Becker. Pressed at RTI and housed in jackets with design by Marco del Rio and printed at Stoughton. Cover image by artist Marcia Hafif.

Tashi Wada – Duets: March 2007

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

ELI KESZLER 'FLYING FLOOR FOR U.S. AIRWAYS'

Extract from STADIUM (SP099), out October 12, 2018
2XLP / CD / DL — SHELTER PRESS

—

New York-based artist Eli Keszler is at the apex of his career. This year alone he’s had a three-month-long solo exhibition (“Blue Skies” at Fuse Arts, Bradford, UK), performed internationally in a duo with Laurel Halo, collaborated with noted Hungarian author László Krasznahorkai, taught experimental composition and performance at Camp in the Pyrenees mountains, composed music for Turner Prize–winning visual artist Laure Prouvost, and most recently embarked on a world tour with Oneohtrix Point Never.

“Stadium” is his new album for Shelter Press. As his ninth solo record,“Stadium” reflects his move from South Brooklyn to Manhattan, where he produced the album. The constant blurry motion and ever-changing landscapes of the fast-paced island helped him modify and shape his sound into a new kind of film noir. “After we moved into our East Village apartment,” Keszler explains, “we found a guitar pick on the floor that read ‘Stadium’. We looked at each other at the same time and had the same thought. It could have gone any number of ways.” Indeed, there is a startling amount of expression at play on each track, where intersections of melody, restraint and rhythm are used to challenge the idea of memory, impression and space.

Keszler is often mistaken for an electronic musician, but in fact his sounds are raw and natural, produced by hand live in-situ. His performance with the drumset and acoustic percussion are central to his work. He produces almost impossible textures through self-realized methodologies: cascading melodies, a shadow of voices, and a unique pointillistic materiality. Although playing with the intensity of digitally-created music, his communications are done live with no processing. These haptics are what give “Stadium” its depth and its warmth. In a recent interview for Dazed, collaborator Oneohtrix Point Never comments, “I’ve always described his playing as bacterial. He’s able to parallax into very small, very acute, very specific relationships between percussive textures. It’s beyond just being a drummer—he’s a world-building percussionist.”

In “Stadium,” Keszler uses lived experience to realize the most wide-ranging sound he’s created to date. “Stadium” draws out textures from overlapping geographies (from Shinjuku arcades to city streets and Brutalist architecture) and transforms these travelogue field recordings into starting points for composition. He then builds on these environments to create subliminal spaces for his percussion, keyboards and acoustic instruments. His “world-building” techniques are pushed to new levels with mesmerizing string and brass arrangements. Throughout the album, Keszler’s writing, keyboard playing and scoring operate like a sonic channel that transports the listener into a quaking web.

Perhaps this is the “stadium” referred to in the title: a larger network of sound and bodies moving continually, oscillating and turning in on itself. Keszler has explored these ideas before both in his visual work and sound installations—especially notable on projects such as his massive Manhattan Bridge installation ‘Archway’ or his Boston City Hall work "Northern Stair Projection." “Stadium” takes these long-running ideas to new depths. “My installations work with massive city spaces for a complex of individuals,” Keszler states. “The recordings on Stadium are inverted. They are landscapes scaled for the singular. Like a mass collecting in one arena, this music compresses city spaces, genre and instrumentalism into an amorphous form. On the record, there are ruptures of information and happenstance. Like a game, it could go any number of ways.”

Stadium

ELI KESZLER 'FLYING FLOOR FOR U.S. AIRWAYS' (SP099)

Sam Mallet could have pursued a career as a French literature professor in Paris, but decided his true calling was to remain in Australia, dedicate himself to his music and find the plateau; a word he used to describe the sensory worlds residing in music. Under the influence of Eno, Jon Hassell, Arvo Pärt, John Coltrane and Robert Fripp, Sam explored a wide variety of musical styles and put them to service soundtracking the time-based works of his peers. He crafted spatial ambience, somber jazz, and drum computer driven rockers for short films and experimental video works, television shows (including the original Australian Wilfred series), feature films and live theatre. The avant garde Anthill Theatre, known for its departure from conventional staging practices and having a keen eye for talent, enlisted Mallet to provide soundtracks for approximately 40 productions throughout the 1980s and early 1990s.

Sadly, Sam passed away in 2014. A crucial piece of his legacy is undoubtedly the body of work he produced during his life, and the archive of recorded works is vast and deep. Sam seemingly saved everything, from fragments to finished pieces; and often repurposed previously released tracks by collaging them into new pieces. He self-released a small number of cassettes and CDs from the mid 1980s onward, the contents of which were culled from soundtrack work and original pieces, but the majority of his music was experienced only within the ephemeral live performances.

Wetlands is the product of countless hours spent with this archive by Rowan Mason (Sanpo Disco/Recurring Dream) and Tony Remple (Musique Plastique), offering a dynamic survey of Sam’s work, and housed in a jacket evoking the minimal design and colour palette of his earliest cassette releases. Two selections of Sam Mallet’s music were featured on the compilation Midday Moon (also produced by Rowan), released last year by Bedroom Suck Records. Along with Left Ear Records’ Antipodean Anomalies, Midday Moon has served to highlight outlier musics and scenes from Australia and New Zealand, and Wetlands plunges deeper into the catalog of this obscure yet groundbreaking artist.

Release by Musique Plastique / Recurring Dream

PRE-ORDER HERE: www.seance-centre.com/other-releases…allet-wetlands

For EU distribution contact: info@rushhour.nl
For NA distribution contact: info@seance-centre.com

Release date October 11th 2019

Wetlands

Sam Mallet - Wetlands (MP006/RD01)

from the 1st album "small souds" 1999.
recording of black mong of north vietnam singing, 
recorded and composed by miki yui.



Mong

In 2019, Copenhagen based sound artist and composer Sofie Birch embarked on a trip to Colombia, taking with her a series of pre recorded synth chords and old demos of unfinished tracks. 

Over the span of the trip, she began collecting a wide array of field recordings, including bird song, Colombian instruments and jungle ambiance.

Processing her journey though music, Sofie produced a series of sound collages, initially presented as one mix and later split into two works, each of which present themselves as an audible postcard, sonically painting a diary of her journey, while encapsulating her moods and thoughts from her time spent in the South American jungle.

VAK32 | Sofie Birch - Morgenånder

Taken from the album 'Peel' released as 2LP and Digital

Peel

KMRU 'Why Are You Here' (EMEGO 289)

Taken from the album 'De Natura Sonorum' released as 2LP
Premiered at the Salle Wagram in Paris on 3rd June 1975.

Bernard Parmegiani: accident / harmoniques (REGRM 009)

Record label run by Tashi Wada and distributed by Forced Exposure. Limited UK and EU distribution by Republic of Music.

Tashi Wada – Duets: March 2007

Saltern

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