so hyped! plage arriere is a fav of mine... gotta resist the urge to listen to more than 30 seconds of this so I can experience the album fully when it comes out!

ok I posted that at 0:51, but I swear I'm not going over a minute ;-)

Nikolay Kozlov - February

Bryozone — Eye Of Delirious 
@gannabryzhata

“Eye Of Delirious” is a long-awaited debut Muscut's release of Chillera’s band bass player Ganna Bryzhata — an Odesa-based sound artist. An ambient LP is a smoothy-flow sub-nautical journey with the songs of Black sea sirens glowing under the moon.

Format: C40, cassette / Digital
Edition: 100, hand-numbered
File under: ambient, dub, experimental

Face A:
Smoothy Flow 
Sub Nautica 
Sequence One 
Glowing Sirens 
Ghost Tribe

Face B:
Ambiency 
Liminal Tribe
Eye Of Delirious 
Fateful Torment 
Ground Floor

Mastering by Gennadiy Boychenko 
Artwork by Volodymyr Pavlov 
Graphic design by (DN) daynight.info 
Neu Medieval and Heymland typefaces by KTF 
Riso print by Hands on Press 
Muscut, 2023

Eye Of Delirious

Order

Bryozone - Smoothy Flow (Muscut 27), March 2023

Artist: Jan Jelinek
Title: SEASCAPE - polyptych (OST)
Cat#: faitiche 31
Release: April 28th 2023
Format: LP/DL

One of the most notorious hatemongers in movie history is Captain Ahab from John Huston’s 1956 classic Moby Dick. His manic monologues cast a spell on generations of viewers. Berlin based musician and sound artist Jan Jelinek has now turned the voice of Ahab into a musical instrument.

Faitiche presents Jan Jelinek's soundtrack for SEASCAPE – polyptych, an audio-visual software developed in collaboration with Canadian new media artist Clive Holden in 2022.
SEASCAPE – polyptych is based on image and acoustic source material from Moby Dick. While Holden works on manipulating film sequences, the voice of Ahab plays a central role in Jan Jelinek’s soundtrack. The dynamic volume and tone of the captain's speech control a synthesizer system that turns Ahabs voice into ten abstract soundscapes.

In this production the voice gives the impulse and controls things but is not the sound of spoken word itself that we hear. Only occasionally can snippets of speech be heard so that syllables or sounds are recognisable. Instead we hear compositions made of hissing, soundscapes and eruptive sounds. The atmosphere is dark and sinister. Still every piece has a clear sonic structure and follows an understandable dramatic composition. This music is abstract but not overwhelming. Quite the opposite, SEASCAPE – polyptych is an invitation to listeners to let themselves be carried by the stream of sonic events.
 
Although part of a media art work, the soundtrack can be enjoyed without any of this connecting superstructure. It works with no previous knowledge. But what happens when one does know that it’s the sonic waves of a human voice that is controlling a network of synthesizers?

If you want to hear Ahab, you will hear a choir of Ahabs in every piece of sound. The subliminal threatening as well as the conjuring Ahab. Finally the Ahab who whips up his crew and tears them with him into their downfall. The majestic „on the quay now, waiting and watching“, the oppressive “drawn towards the whirlpools center” - they are all music as well as sonic discourse.

Jan Jelinek: Drawn Toward The Whirlpool's Center

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)

https://soundcloud.com/pontiacstreator
+
https://soundcloud.com/ullastraus

out 5 July 2018
12" & Digital >>>
http://westmineral.ltd/releases/chat-ouest097/

~get in the chat~

Chat (OUEST097)

Pontiac Streator & Ulla Straus – A2 Chat Two – Chat EP (OUEST097)

This is track ONE on THE BLACK BOOK which is a 3 LP comp of stuff we love, and compiled to celebrate 20 years of iDEAL, ok? Its here rather soon. But we needed to share this with you tonight. Cover design by Philip Marshall.

JASSS - PARENTAL YOUTH (from "THE BLACK BOOK" IDEAL175 3xLP compilation)

Leif - Loom Dream LP
Release Date - 21st June 2019
Buy -https://whities.bandcamp.com/album/loom-dream

June 21st 2019 sees the release of Leif's 'Loom Dream’ LP. 

Made up of six tracks but presented as two ~17-minute pieces, the record meanders through warm chordscapes, glistening synths and loose live percussion, weaved together with field recordings and ambience. 

Loom Dream invites us to peacefully reconnect with the living world by placing us amongst lush sonic verdure. 

An interactive site created by Joseph Pleass and Alex McCullough accompanies the release, where users can navigate a virtual world, learning more about the plants referenced throughout the record (the site is best experienced on mobile via chrome) - whiti.es/020/

Leif - Loom Dream - WHYT020

Artist: Andrew Pekler
Album: Sound From Phantom Islands
Label#: Faitiche20
Format: LP/DL

Faitiche is delighted to present a new album by Andrew Pekler: Sounds From Phantom Islands brings together ten tracks created over the last three years for the interactive website Phantom Islands - A Sonic Atlas. With his 2016 album Tristes Tropiques, Pekler created a highly unique cosmos of ethnographic sound speculations. Sounds From Phantom Islands continues and simultaneously expands this concept: finely elaborated chordal motifs float like fog over fictional maritime landscapes. A masterpiece of contemporary Exotica.

Phantom islands are islands that appeared on historical maps but never actually existed. The status of these artefacts of European colonial expansion from the 15th to the 19th century oscillates between cartographic fact and maritime fiction. Sounds From Phantom Islands interprets and presents these imaginations as a quasi-ethnographic catalog of music and synthetic field recordings. The pieces on this album are based on recordings made for Phantom Islands - A Sonic Atlas, an online interactive map developed with cultural anthropologist Stefanie Kiwi Menrath.

Andrew Pekler: Description Of Rain (Over Frisland)

Keeping the ever-present influence of the sea in focus, Poirier projects himself to a fantasised coastline, imagining a landscape in flux, continuously reconfigured by the movement of water and those that inhabit its space...

A1. Thalassocratie
A2. Longe-côte
A3. Trace palmaire
A4. Le bématiste
A5. Sablage

B1. Hotel Nota
B2. Pénombre
B3. Du rocher
B4. Ekphrasis
B5. Raccordement
B6. Balayage 

Mastered by Stephan Mathieu at Schwebung Mastering.
Release date: August 2020

@romeopoirier

Roméo Poirier - Hotel Nota (sferic 0tel) [Preview]

Track from upcoming @muscut compilation

https://muscut.bandcamp.com/album/v-a-test-pressing-iii-muscut-xx

V​/​A Test Pressing III

Vāɡ

Just before 2020 comes to an end, Berlin-based artist @leozylberberg graces this crazy (!) year  with an oddball of a track: “Sheshells” is a total earworm and at the same time a bit off, maybe. It’s chill, it’s haunted, and it might be the most appropriate end to 2020 one can imagine. “Despite its imperfections, it feels like some sort of antidote to something,” as the Australian artist puts it herself.

Sheshells is published as a digital single. It features an artwork from Paris-based graphic designer and art director Olga Prader’s Ftantasy series. The track is Präsens Editionen’s fourth audio release in 2020, following music by Remo Helfenstein, @samuelreinhard , and @damexlove , that is ranging from gospel and dark ambient-informed lullabies to proper sad-boy-reggaeton-heat.

Zylberberg is a mainstay at @sameheads , Berlin’s most infamous pub / fashion store / club / art space / what not. In 2017, she came to attention with a split tape realized with the wonderful Belia Winnewisser. Earlier this year, the Australian artist published Greatestings on @noisekoelln , a label that came back to life just for this highly limited 10” after a four-year period of inactivity. Zylberberg is part of Balance Crew alongside partner in crime @dane-close .

Sheshells

Buy the Track

L.Zylberberg - Sheshells (PE-022)

Electronic music label based in Manchester, UK.

Roméo Poirier - Hotel Nota (sferic 0tel) [Preview]

sferic

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