this is amazing.. the tumultuous vibe... anhebreating (dont kno spelling on that one)😁

Drone

Born in Indiana in 1933. Phill Niblock is an intermedia artist using music, film, photography, video and computers. PN makes thick, loud drones of music, filled with microtones of instrumental timbres which generate many other tones in the performance space. Simultaneously, he presents films / videos which look at the movement of people working, or computer driven black and white abstract images floating through time. Since the mid-60’s he has been making music and intermedia performances in many places and museums all over the world. He is Director of the Experimental Intermedia Foundation in New York. He has been director since 1985; an artist/member since 1968. He is the producer of Music and Intermedia presentations at EIF since 1973 (about 1000 performances). Recently, an Experimental Intermedia organization was formed in Gent, Belgium, to support the artist-in-residence house and installations there.

www.erratum.org - 2004

Phill Niblock

Korg PS-3100 synthesizer

Recorded live at Lucky's Comics as part of Music Waste
Vancouver, BC
7 June 2014


Sarah Davachi live / Korg PS-3100 / 7 June 2014 / Lucky's Comics (Music Waste, Vancouver)

"Black Truffle is pleased to announce Tender Membranes, the label’s first release from Swedish-Finnish sound artist and electro-acoustic composer Marja Ahti. Active for a decade in the Finnish underground music scene, in recent years Ahti has developed a distinctive approach to patiently unfolding electro-acoustic constructions, documented on a string of solo releases and collaborative projects with Judith Hamann and her husband Niko-Matti Ahti. Working with concrete and instrumental sounds, field recordings, and electronics, Ahti favours neither disjunctive collage nor monolithic consistency; rather, her work is composed of organically unfolding sequences of details and textures, which, as she says, ‘can stretch out or cut fast as long as they have a sense of inner stillness’, a sense that she connects to moments of heightened attention in everyday life.

Tender Membranes consists of four lengthy pieces, partly inspired by the image of the senses and mind as membranes allowing for the passage between inner and outer spaces, sensation and its causes, creating a world. Ahti’s unhurried pacing encourages this sense of listening as an opening or surrender to sound, which can often create the impression that the listener is moving through a space zooming in on details. The opening Shrine (Aether) exemplifies this aspect of Ahti’s approach: a bell clears the air with a single long tone, followed by the ambience of outdoor spaces, crackling electronics, an archival recording of a horsefly on a windowpane. Dozens of these moments, varying in length, density, and intensity, move past the listener’s attention, momentarily brought into focus then slipping away. Like those of the masters of the French musique concrète tradition, Ahti’s sounds are not often recognisable, though they might suggest proximity or distance, open environments or closed spaces, the urban or rural, day or night. In Ahti’s work, we do not encounter spectacular metamorphoses à la Parmegiani but rather a state of ambiguity where the listener is often unsure what is organic and what is inorganic, where the careful productions of the synthesizer might end and sounds discovered in the environment begin.

What Ahti calls her ‘poetic way of experiencing and organising the familiar and the unfamiliar’ is sustained throughout Tender Membranes, but each piece has its own character. On Dust / Light, human presence is more overt, as what appear to be whispers, singing, and distant speech thread between high frequencies, untraceable drips and pops, and metallic shimmers. In all this there is a melody that you can sing and to which you may dance makes more prominent use of musical instruments, gaining a sombre beauty from half-buried piano chords and organ tones. On the closing Oh Fragrant Witness, a delicate cloud of subtly bending pitches is repeatedly disrupted by a resounding, almost ominous mass of low tones, at once a strange detour from much of what has gone before and an almost classical finale. Arriving in a sleeve reproducing contemporary Finnish photographer Sini Pelkki’s fragmented visions of the everyday, Tender Membranes is a balm to reawaken tired ears."

Released September 29, 2023

Tender Membranes

Shrine (Aether)

Mumbled echoes from the mist,
through the tunnels of revival.
The graininess interplay with a subdued mellifluence.

A haze of longing sighs and reverberations
threshold between the lane,
where distant voices yield to.

Each touch is a ballad in nocturnal parade, rays in slumber, yet the moonbeam in breast is still awake - whispered pledge enchained with insatiable thirst. Ecstatic symphony, where caress seems to echo in the passage of elysian heath.

'To Be Kept in the Body Eternal' enchants with pulse in elegance dance of eternal, bittersweet passion. Everlasting sonata venturing into woven figures of tender phantoms.

To Be Kept in the Body Eternal

Patina Lush - Monican Apartment

Moving Deeply Through the Forest
You Out of Time II
You Out of Time V
Facing A Pavement
Invisible Pavement
Dust
No

An unreleased assortment of minimal ambient tracks I have been making the last few weeks.
Thanks to Set.

https://soundcloud.com/kagamismile

KAGAMI smile presents: Unreleased Ambient Mix for Zenevloed.

Foresteppe - Radonitsa. Taken from the album “No Time To Hurry” out now on Vrystaete / Enfant Terrible (Vrystaete20 / 2024).

More information and sound previews here: https://www.enfant-terrible.nl/releases/foresteppe-no-time-to-hurry/

Foresteppe - Radonitsa

info + tracklist: radio.syg.ma/episodes/u007-ready-to-wear-ep-2-aairs-pap2802024
@risolee
@secondearide

U007 Ready to Wear ep.2 – aairs PAP2802024

Format: CD
Pre-order: 12th July 2024
Release date: 19st July 2024

〰

In a small fishing village located on a remote island, there was an elderly man who loved to stroll along the beach at sunset, leaving his footprints on the golden sand as he contemplated the infinite sea.

One evening, as he walked along the shore, he came across a young boy sitting on a rock, lost in his thoughts.

"What are you doing here all alone?" he asked kindly.

The boy looked up, surprised to be interrupted. "I'm just trying to understand the meaning of life," he replied weakly.

The elderly man smiled and sat down beside him. "The meaning of life is like this ocean we see before us," he said, gesturing towards the vastness of the sea. "Majestic and mysterious. We may not always understand it, but we must accept its flow."

The boy nodded, but still seemed perplexed.

"Look at the waves," the elderly man continued. "They're like the events of life. Some are high and tumultuous, others are gentle and serene. But in the end, they all crash upon the shore, leaving only smooth and uniform sand."

The boy watched the ocean attentively, reflecting on the old fisherman's words.

"Life is made up of moments that leave their mark," he said. "But just like footprints in the sand, they will eventually be erased by the tide of time. No matter how hard we try to leave our mark, in the end, everything will fade away."

The boy felt relieved of an invisible burden as he listened to the wise words of the elderly man. Perhaps there was no need to search for the meaning of life so anxiously. Perhaps all he needed was to learn to accept the flow of time and enjoy the present moment.

That night, as the tide silently rose on the beach, the elderly man and the boy sat together on the rock, watching the sea shimmer in the moonlight. And in that moment, in the quiet of the island, they found the inner peace they had been seeking.

"Inspired by Alessandro Baricco's book 'Oceano Mare' (1993)."

Sound source material: Berlioz Symphonie Fantastique / Felix Mendelssohn, Piano Concerto No 2.

〰

previews. Lamasz, come le onde - il mare cancella, di notte | ROHS!

from the album 'On Leaving' on Touch, UK (TO124)

dedicated to Steve Roden (1964-2023)

For over a quarter of a century, sound artist and composer Richard Chartier has interrogated an ever deepening thread of minimalist sound that meshes questions of stasis, pulse and timbre. The results of this work is some of the most quietly intense compositions of this century. His is a music of subtle variation, unwavering concentration, and also patience. This five part work created between 2020 and 2022 is dedicated to his friend and fellow sound artist Steve Roden.

"I first became friends with Steve Roden (and later his wife, Sari) back in 1998 when my first album 'direct.incidental.consequential' was released. He was one of the first group of artists to whom I sent the album. Almost instantly he had been there on the other side of the phone (or email) and ever since.

His way of listening and attention to details (no matter how small) was inspirational — the clarity and complexity of his understated and only seemingly simple compositions, engaging. Underneath it all, 'the less’ truly opened your ears to 'the more.' Steve saw and heard everything between the noise, no matter how faint.

Some of the last times I was able to see Steve were right before the pandemic. The effects of his advancing Alzheimers were present, still somewhat subtle, but increasing. I am still regretful that we were unable to spend more time together prior to his succumbing to his condition’s cruel effects. Another regret is not engaging in the collaboration we had both talked about for YEARS. 'We should really start on that sometime soon' Steve and I would say with each passing year.

I worked on the compositions included on this album as Steve gradually slipped away from communication. He was not in my life like he had been before. During this time it became apparent that these pieces were for Steve. A reflection of his ability to find beauty in the most minute details. Even when finally reviewing the final masters after his passing, I tried to think about how Steve would listen.

What would Steve hear in the details? His effect on this album is strong... the accumulation of influence and inspiration. This album feels organic and warm and was developed during a time when his absence in my life increased. That warmth is reflective of the nature of who Steve was himself, his friendship, and his visual & sound work.

on listening... on loss... on leaving...

As Steve and I mutually suggested... for quiet amplification or headphone listening.

On Leaving

Variance.1

low pressure

YANKEES SUCK: yankeessuck.bandcamp.com
RSVP FOR THE LISTENING PARTY: https://malisima.bandcamp.com/merch/a-dream-dreaming-a-dream-dreaming-listening-party

Strippedbare, Pt.1

DM-77

Holmur's Dementophobia is a haunting exploration of the mental and emotional toll of dementia. A soundscape album that delves deep into the struggles of memory loss, confusion, and the disintegration of the self. Each track on this melancholic journey addresses a different facet of the disease – from insomnia and anxiety to the trauma of lost identity and the overwhelming effects of hallucinations. With its raw, atmospheric tones and heavy themes, Dementophobia offers a deeply immersive, unsettling experience that will resonate with anyone who has witnessed the devastating impact of dementia.

Marketed by Noisj
Published by Zero Tolerance Publishing

Holmur - Anxiety

Ashley Bellouin: glass harmonica, electronics
Sarah Davachi: pipe organ

Recorded 1 December 2011, Mills College chapel
Oakland, California

glass harmonica and pipe organ (w/ Ashley Bellouin)

An improvised composition created with guitar inspired by the music of Phill Niblock.

Drone (for Phill Niblock)

Via:
http://freemusicarchive.org/music/William_Basinski/Live__ISSUE_61110/Vivian_and_Ondine

Read our lengthy William Basinski interview here:
http://www.self-titledmag.com/2012/10/30/the-self-titled-interview-william-basinski/

William Basinski - "Vivian and Ondine" (Live @ Issue Project Room)

Recorded om the eve of the winter equinox 12/20/12

Balam

self-titled is a music magazine that has nothing to do with music. At least not in the traditional sense of self-important ‘criticism’ and profiles that read like regurgitated press releases. Yes, we print reviews and thought-provoking features, but we also pride ourselves on answering the questions others don’t ask. Find out what some of those questions are by reading our daily site or one of the back issues below.

For more information, or to request our one sheet for prospective advertisers and creative/event partners, please feel free to contact one of our editors:

Editor/Publisher, Andrew Parks, aparks@self-titledmag.com
Managing Editor, Arye Dworken, adworken@self-titledmag.com

As for getting covered in our digital magazine or daily edition, please send any material for review or feature consideration to our central office at:

self-titled
4204 Oakland Ave.
Minneapolis, MN 55407

William Basinski - "Vivian and Ondine" (Live @ Issue Project Room)

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