Name: "Luau" by Brett Naucke by Spectrum Spools
Duration: 3 min 58 s
Description: from upcoming "Seed" album available April on Spectrum Spools.

Very interesting sound design & composition! Great track! 👌🔥🎶

nice stuff - this a DPO-Optomix combo for that bodhran sound?

Extract from 'Image Langage' (SP140)
Out June, 24th 2022 on 2xLPs, CD, digital download.

Order: https://feliciaatkinson.bandcamp.com/album/image-langage

—
Opening the window, I look at the light, it connects me to something more vast.

Felicia Atkinson’s music always puts the listener somewhere in particular. There are two categories of place that are important to Image Language: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record—Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy—the landscape is what is waiting for you when you leave the house, and vice-versa. Each threatens—or is it offers, kindly, even promises?—to dissolve the other. Recognizing the normalization of home studios these days, she revisited twentieth-century women artists who variously chose, and were chosen by, their homes as a place to work: the desert retreats of Agnes Martin and Georgia O’Keefe, the life and death of Sylvia Plath. Building a record is like building a house: a structure in which one can encounter oneself, each room a song with its own function in the project of everyday life.

At times listening to Image Language is immediate, something like visiting a house by the sea, sharing the same ground, being invited to witness Atkinson’s acts of seeing, hearing, and reading in a sonic double of the places they occurred. In an aching moment of clarity in “The Lake is Speaking,” a pair of voices emerge out of the primordial murk of piano and organ, accompanying the listener to the edge of a reflective pool that makes a mirror of the cosmos. “I open my feet to fresh dirt, and the wet grass. I hold your hand. You hold his hand. In the distance without any distance. The comets, the stars.” At other times, listening to Image Language is more like being in a theater, the composition a tangle of flickering forms and media that illuminate as best they can the darkness from which we experience it. On “Pieces of Sylvia,” a noirish orchestra drones and clatters beneath and around a montage of vocal images, stretching the listener across time, space, subjectivities. Atkinson says that Image Language is like the fake title of a fake Godard film. There is indeed something cinematic about Atkinson’s work—not cinematic in the sense that it sounds like the score for someone else’s film, but cinematic in the sense that it produces its own images and language and narratives, a kind of deliberate, dimensional world-building in sound.

Image Language is built from instruments recorded as if field recordings, sound-images of instruments conjured from a keyboard, instruments Atkinson treats like characters, what she calls “a fantasy of an orchestra that doesn’t exist.” And then, speaking of Godard, there are the monologues, operating as both experimental-cinematic device and a literary style of narration. Voice can be a writerly anchor or a wisp of a textural presence. Atkinson’s capacious and slippery speech plunges into and out of the compositional depths, shifting shapes, channeling the voices of any number of beings, subjectivities, or elements of her surroundings—not unlike her midi keyboard, able to speak as a vast array of instruments.

Image Language is an environmental record, in the vastest sense of the world. It is about getting lost in places imagined and real; it registers, too, the dizzying feeling of moving between such sites. It puts forth a concept of self that is hopelessly entangled with the rest of the world, born of both the ache of distance and the warmth of proximity.

— Thea Ballard, 02.2022

Image Language

Becoming a stone

FELICIA ATKINSON 'Becoming a Stone' (SP140)

from upcoming "Seed" album available April on Spectrum Spools.

"Luau" by Brett Naucke

From a series of (almost) daily ocean glimpses. The music is composed to a video of the sea (photons captured fresh every day). You can experience the full video version here: https://youtu.be/v_ZX0yR4z5w

Glimpse 951

Glimpse 951 (May 7 2024)

Gravity

Félicia Atkinson - Ma Langue La Premiere (Love Means Taking Action Mix)

Taken from the album 'taking into account only a portion of your emotions' released as CD and Download

taking into account only a portion of your emotions

pinkcourtesyphone 'Reference Point Intermission 1' (EMEGO 236)

Moon Wheel — Maze Siren

The Last Cut is The Deepest

Sweet Sins (Abul Mogard Remix)

Written July 3rd, Recorded July 4th, 2020

A tune as muddy as the Nikomekl river.

Bailey Bridge (demo)

https://audiovisualsatmosphere.bandcamp.com/

Individuality Is Also A Fetish

Anasisana - The Desire For Aesthetic Perfection

NORMAN WESTBERG & JACEK MAZURKIEWICZ, First Man in the Moon - LP
Release date - March 12th 2021
Catalogue nr. - HG2101
Format - Vinyl / digital
Hallow Ground
Vinyl / digital, catalogue nr. HG2101

hallowground.bandcamp.com

Tracklist:
What Is Good For The Goose (09:35)
That Was Then (08:29)
First Man In The Moon (06:45)
Falsely Accused (06:33)
Oxnard (05:47)

Credits:
Recorded at Studio Diamentowy Pies
Damian Pielka, engineering
Piotr Mazurek, engineering assistance
Jacek Mazurkiewicz, mix
Lawrence English, mastering
John Fell, photographs
Greenpointless, design

///
An unlikely meeting of two like-minded spirits, »First Man in the Moon« sees the former Swans guitarist and Hallow Ground regular Norman Westberg and the prolific double bass player Jacek Mazurkiewicz collaborate for five evocative tracks. The pair finds common ground beyond the boundaries of atmospheric drone, abstract jazz and experimental music and blurs the lines between the acoustic and the electronic. 

The two first met when the composer Mazurkiewicz supported Swans with his solo project 3FoNIA on their 2014 European tour. »I really enjoyed his approach,« says Westberg about the Polish musician’s blending of the acoustic qualities of his instrument with electronically generated sounds. A decision to collaborate was made and when the US-American musician returned to Eastern Europe to support Michael Gira on his solo tour in late 2019, Mazurkiewicz reached out to him with the idea of booking some studio time before Gira’s two concerts in Warsaw. »Recording was very fun and easy,« remembers Westberg. »It was just two people enjoying hearing and reacting to what the other is doing.«

»First Man in the Moon« is not however a plain document of these improvised sessions, but also shaped by Mazurkiewicz’s approach as a composer. Once the recordings were finished, he selected and edited the recorded material, refining the peculiar dialogue between the guitarist’s meditative drones and bright chords and his own rhythmic yet subtle approach to playing the double bass, sometimes plucking the strings and occasionally using his bow to underscore Westberg’s fleeting melodies, but also using the instrument in unconventional ways to generate sound. 

A feeling of weightlessness prevails throughout the aptly-titled »First Man in the Moon.« Even at their most abstract however, these five improvisations-turned-compositions remain tangible, lively, and joyfully explorative. It is a record that you wouldn’t expect from either of these musicians, but the logical result of two idiosyncratic minds sharing not only space and time, but also their respective visions with each other.

NORMAN WESTBERG & JACEK MAZURKIEWICZ - What Is Good For The Goose (HG2101)

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"Luau" by Brett Naucke

Spectrum Spools

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