A House With Too Much Fire

~ IIKKI 015 ~

music : Frédéric D. Oberland
photography : Gaël Bonnefon
album/book : Même Soleil
duration : 40.41 mn
date : July 2021

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all music composed, performed and recorded by Frédéric D. Oberland between March 2020 and March 2021 at Magnum Diva: analog synthetizers, mellotron, machine drum, flutes, alto saxophone, vocals, percussion, duduk, field recordings, electric bass & guitar

Mixed by Jean-Charles Bastion at Mer/Noir, Paris
Mastered by Harris Newman at Grey Market, Montreal
Artwork by Gaël Bonnefon
Design by sprflxgrfzm

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edition :
vinyl : limited to 400 copies hand numbered
cd : limited to 200 cd (glass mastered) hand numbered
book : limited to 400 copies hand numbered + hand stamped

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pre-order : May 13th, 2021 / official release : July 19th, 2021

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Links :
https://www.fredericdoberland.com/
http://gaelbonnefon.org/
http://www.iikki-books.com/
https://iikki.bandcamp.com/album/m-me-soleil

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℗ & © 2 0 2 1 - I I K K I - I I K K I 0 1 5

Frédéric D. Oberland - À Notre Nuit

Written by Sandy Chamoun, Farah Kaddour, Antonio Hajj Moussa, Anthony Sahyoun, Pascal Semerdjian and Marwan Tohme between Beit Fares wa Lucia in Jbeil, Tunefork Studios in Beirut and La Frette Studios in Paris.
Lyrics by Sandy Chamoun.

Recorded by Radwan Ghazi Moumneh at La Frette Studios Paris, in August 2024. Additional recordings at Tunefork Studios in Beirut.
Mixed by Radwan Ghazi Moumneh at Hotel2Tango, Montreal.

Produced by Radwan Ghazi Moumneh and SANAM.
Mastered by Heba Kadry, New York.

SANAM • Harik

SAÅAD "Présence Absente" (LP/DL)
Release date: 13th April 2018

Cat.#: HITD 039
All tracks composed, performed & recorded by Romain Barbot & Gregory Buffier
Mixing by Aurélien Prévost
Mastering by James Plotkin
Mastercut by Mike Grinser @ Dubplates & Mastering, Berlin
Collages by Morgan Cuinet
Layout & graphic design by Romain Barbot

Label, orders: www.handsinthedarkrecords.com

SAÅAD - 22:22 (esveil)

From Upcoming Album - A House With Too Much Fire
1st June 2018

Inner

Submerged Past

Somewhat Like Vision

Stars of the Lid  - Requiem For Dying Mothers, Part 1

Other Time

Toms Corner

Taken from the upcoming album 'Layers of Memory in the Quiet Voice of Motion', released through Fluid Audio...

Clarinet Solos – James Chu, Recorded by Seaman
Violin Solos – Wei Ping Lin, Recorded by Volkmar Klien
Horn and Violin Arrangements Seaman
Singing - Rin Howell 
Produced by Corder and Seaman
Mastering by Corder
Design - Daniel Crossley

www.fluidaudio.bigcartel.com

Layers of Memory in the Quiet Voice of Motion

offthesky & Bill Seaman - Layers of Memory in the Quiet Voice of Motion

Italian musician Attilio Novellino released his first album in 2009. Since then he has been focused on the use of sound as a psycho-acoustic tool throughout his solo albums and collaborative projects. June 2020 sees Attilio’s first release on Forwind.

Recorded in Stockholm at EMS Elektronmusikstudion, and in Catanzaro, Italy, Attilio used a wide range of sound sources including; piano soundboard with strings, grand piano, prepared piano, Buchla 200 modular synthesizer, Serge modular, Prophet 5, harmonium, organ, percussions and electronics. There are varied approaches and results across the four pieces as it moves from some beautifully recorded grand piano sections via ambience and carefully crafted abrasiveness.

Strängar will be available as a limited edition Digipak and digital release.

Strängar

FWD28 - Attilio Novellino - Strängar I

Frédéric D. Oberland and Irena Z. Tomažin - ARBA, DÂK ARBA - LP

Release date - June 5th 2020
Catalogue nr. - HG2005
Format - Ltd. Vinyl/digital

https://hallowground.bandcamp.com

Tracklist:
1. Grotta (14:29)
2. Amena (06:43)
3. Fumes (08:29)
4. Hieromancy (09:07)
5. Hereafter (04:54)

Credits:
Irena Z. Tomažin: voice
Frédéric D. Oberland: electric hurdy-gurdy (boîte à bourdons V) and processing
Recorded and mixed by Romain Poirier at Le Fresnoy, National Studio of Contemporary Arts, in Tourcoing. Edited by Fanny Béguély, Frédéric D. Oberland & Romain Poirier at Mer Noir, in Paris. 
Mastered by Lawrence English.

///
Frédéric D. Oberland and Irena Z. Tomažin’s »ARBA, DÂK ARBA« was conceived as the soundtrack for the eponymous installation piece by the French artist Fanny Béguély. First presented as part of the group exhibition »Panorama 21 - ›Les Revenants‹« at Tourcoing’s Le Fresnoy Studio National des Arts Contemporains in December 2019, Béguély’s chemically painted photographs focused on humankind’s propensity for self-examination and its attempts to probe the mysteries of the past, present and future. Oberland’s heavily processed electric hurdy-gurdy, the »boîte à bourdons,« provides the foundation upon which the Borghesia member Tomažin unfolds her gripping vocal magic(k). Their dense mesh of soundscapes and singing mediate between the mystic and the modern, the natural and the all-too-unreal to further examine our persistent desire to decipher the signs we find in nature. As the first collaboration between these prolific experimental artists, »ARBA, DÂK ARBA« is as evocative and thought-provoking as the art that has inspired it.

It’s easy to see why a curious instrument like Oberland’s electric hurdy-gurdy would be well suited for the duo’s ends, and within its first few minutes the opening track »Grotta« makes it clear that the Oiseaux-Tempête co-founder is more than capable of weaving dark psychedelic sound tapestries with only limited means. The ritualistic energy that Béguély’s »ARBA, DÂK ARBA« draws on is channeled through abstract drones that mirror the aesthetics of the eight suspended paper rolls the artist’s audience were faced with. When the music becomes denser and Tomažin finally enters the picture with her signature glossolalic vocal performance, it seems as if the drones emanating from her musical partner’s curious instrument bleed right into her voice. Even as the sound of the boîte à bourdons becomes more visceral and Tomažin’s voice more discernible, »Grotta« remains as intangible as the mythological oracles that had informed the work of Béguély. Shorter pieces like »Amena« or the closing track »Hereafter,« though condensed, offer just as much to decipher - a whole musical world to get lost in, full of riddles and uncertainties.

»Fumes« and »Hieromancy« in the second half of the LP are the best examples of how much creative friction lies at the heart of the French experimentalist and the Slovenian singer’s collaboration. While in the former song, Tomažin first takes the lead singing uncanny, circular motives before stepping aside so Oberland can let the processed sounds of his hurdy-gurdy evolve into chilling crescendi, the latter sees both of them take turns in channeling the pervasive mysticism around them. Blurring the lines between the physical and psychic as well as the real and the hallucionary with their music, Frédéric D. Oberland and Irena Z. Tomažin’s »ARBA, DÂK ARBA« is one of the most radical albums in recent years. An unsettling dialogue between two kindred, yet freely wandering spirits.

Frédéric D. Oberland and Irena Z. Tomažin - edits(HG2005)

Track taken from the upcoming album 'Unstill' forthcoming on Fluid Audio...

Music: Andy Cartwright
Mastering: Ian Hawgood
Design: Daniel Crossley
Label: Fluid Audio

Unstill

A Diary Of Sorts

Andy Cartwright - A Diary Of Sorts

'Seabuckthorn' is the solo work of Andy Cartwright.
Exploring various approaches on guitars, with fingerpicking, bowing and slides, often with layered accompaniments

Somewhat Like Vision

Seabuckthorn

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