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?

Demord Enregistrement DMRD009
Ended - Sunrise ft Catherine Danger
Ended - Circadian
Out June 4th 2021

https://demordenregistrements.bandcamp.com/album/dmrd009-ended-cirdadian
https://www.instagram.com/ended_music/


"Ended is the performative project of Léo Campbell (https://soundcloud.com/technothriller) and Alban Mercier (https://soundcloud.com/criminalofficium). 
Mystic synths, world percussions and contemporary techniques, these two "têtes brulées" are definitely obsessed with a modern vision of trance, rituals definitely "mushrooms sunset-party"-ready. Now based in Marseille. "

This first album CIRCADIAN will be released in June on the label Demord Enregistrements in June 2021. He was recorded between Brussels and Marseille during a long period of forbidden parties, whether hidden in a forest, in a shed, in a cellar, or in collective places bravely braving the bans. Thanks to them.

________________

"Sunrise" is the sound of an alterated state at night, in the nature with strange and throbbing piece of
nocturnal birds (it could remember Coil and the presence of bird in their productions "Strange Birds", "Red Birds Will Fly Out Of The East And Destroy Paris In A Night" ...), dark dub sound accompanied by the suave and magical voice of Catherine Danger.


https://soundcloud.com/demordenregistrements
https://soundcloud.com/endedforlife

[PREMIERE] Ended - Sunrise (ft. Catherine Danger) [DMRD009]

LAWRENCE ENGLISH, Observation of Breath, LP

Release date - Sept 10th 2021
Catalogue nr. - HG2103
Format - Vinyl / digital
Hallow Ground

hallowground.bandcamp.com

Tracklist:
1) A Torso (10:01)
2) A Binding (06:05)
3) And A Twist (02:42)
4) Observation Of Breath (20:44)

Credits:
All organ recorded at The Old Museum, Brisbane July-November 2020,
except A Torso’s centre section which was recorded in 2016 on the same organ.
Performed and Produced by Lawrence English
Picture by Juan Valverde de Amusco, 1560
Design by Ruth Stofer and Greenpointless

///
Do you remember the last time you were breathing consciously? Either way, you are likely doing it now. On his new album »Observation of Breath« for the Swiss-based Hallow Ground label, Lawrence English worked exclusively with an organ for four compositions that are exercises in »maximal minimalism,« as their creator himself notes in a nod to Charlemagne Palestine, who coined this term. While it seems somewhat fitting that those four pieces based on a steady flow of air were conceived and recorded in a situation of accelerated standstill caused by a respiratory disease, the Room40 founder is not so much concerned with capturing the zeitgeist than rather incorporating the spirit of time itself. »It is a record about presence and patience,« he explains. Exploring the unique sonic affordances of a singular instrument, »Observation of Breath« is not only devoted to the durability of sound but also to its density. That it marks his debut on Hallow Ground after having shaped its sound by mastering most of the label’s releases in recent years is just as fitting then as its release following albums by Kali Malone and FUJI|||||||||||TA, whose innovative work with organ instruments have facilitated a rediscovery of their possibilities. 

English’s compositions however are neither directly indebted nor responding to these musicians. His exploration of the organ’s many facets started a decade ago when the composer was given access to an instrument built in 1889 that is presently housed at The Old Museum in Brisbane. After it had already played a crucial role on his seminal albums »Wilderness Of Mirrors« and »Cruel Optimism,« last year’s self-released »Lassitude« was the first record that English entirely composed and recorded with that instrument. »During the soft lockdowns, I spent many days playing to an empty concert hall, recording the pieces that became ›Lassitude‹ and then, this album,« says English in regards to an unfortunate situation that fortunately provided him with time and space—two major themes but also key qualities of the four new compositions. In this sense, he goes on, »Observation of Breath« resolves a number of the questions originally raised by »Lassitude.«

»The organ is an exercise in the observation of breath,« English explains the album’s title. »It is a physical breath, one that manifests both audible and inaudible waves of vibrations. The sheer scale of the instrument, its weight and the physical length of the pipes involved in producing the sounds we experience is nothing short of mind-boggling.« More importantly, the sound artist is fascinated by the organ’s ability to produce frequencies that exist at the sensory limits of human awareness—it’s at the edges of these limits that fascination can be found, he argues. »The particular organ that I work with comprises four manuals and 45 speaking stops and it has a tubular-pneumatic action,« he explains. »It’s the stops that are the focus of my interest. They are very specific and when manipulated in certain ways and in certain combinations, create a unique set of unsteady timbres that make it a remarkably intoxicating instrument to collaborate with.«

LAWRENCE ENGLISH - A Binding (HG2103)

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

"Luau" by Brett Naucke

Tefnect - Time Heals All Wounds

https://wheretonow.bandcamp.com/album/face-a-b

Beatrice Dillon's 'Face A', taken from the 12" 'Face A/B'.

Written and produced by Beatrice Dillon, tenor saxophone on ‘Face A/B’ by Verity Susman. 

Mastered by Rupert Clervaux at Grays Inn Road. 

Sleeve drawing Sam Porritt, 'We're tripping myself up’, 2012, ink on paper, courtesy of the artist.

Where To Now? records are proud to present Beatrice Dillon’s follow up release to the widely well received ‘Blues Dances’. This three track 12” sees Beatrice step things up a gear in terms of intricacy, experimenting wildly to add to her already astute palette of timbre and rhythm. 

‘Face A’ leads the record with the unmistakable skronk of saxophone cutting and jamming over the skeletal pulse of Beatrice’s signature dubbed out techno landscape. Initially the inclusion of saxophone acts as an aural abstraction or diversion to extract a little freedom from the pumping cavern of dark dub techno atmosphere punctuated with the mechanical juddering saw-bass, but as the piece develops and we become deep into the groove the inclusion of wild sax snorts trips us up and become the focus itself as new levels of complex melodic and rhythmic detail become apparent within this otherwise structurally obedient space. Taking it’s cues from Rabih Beaini, Miles Davis ‘Big Fun’ era, Dresvn and Keith Hudson, undoubtably ‘Face A’ is a compelling, complex trip… heads down but arms flailing. 

Beatrice Dillon - Face A

Full transparent 8" packed in beautiful half silver/half transparent sleeve. Ultra limited edition of 50 copies. 

Artwork by Hendrik Hengray.
Mastering by Alan Briand.

Pre-order here: https://mindrecordsjapan.bandcamp.com/album/deeat-palace-2

MIND CLEAR 010 - DEEAT PALACE - PRESSURE ZONE

READ > http://inverted-audio.com/premiere-isorinne-ingen-kunde-nagonsin

Lifted from @licensetolovetapes debut VA 'Losing Hands', @isorinne's soothing ambient drift 'Ingen Kunde Någonsin' reels out a laid back cinematic vibe as muffled percussions and clicks haul the track forward onto subtly groovier terrains.

Isorinne - Ingen Kunde Någonsin [License To Love]

Oil Thief - White Car

Tunes Of Negation - Reach The Endless Sea
Format: 2xLP  
Cat.No. CR10
Pre-order: http://bit.ly/2MYQDkp

As it has become a somewhat common occurrence in his discography, Shackleton’s Cosmo Rhythmatic debut as Tunes Of Negation opens with a song. Its structure and, most importantly, themes, can be integrally traced within his rhizomatic net of creations, consistent with a process that’s regularly wandered through spiritual depths by means of sonic perseverance. Sung by Heather Leigh, the double – cantos continuum of “The World Is A Stage” and “Reach The Endless Sea” deal with time, or rather its illusory, treacherous nature, as well as spiritually investigating ideas of immortality, memory, and grief.

Ultimately, it is a meditation on the non-finitude of life and spirit, and the limits of perception in dealing with it. It could be argued that the whole record, as well as Shackleton’s whole body of work, represents an attempt to break those limits and trespass beyond human experience, incorporating an immense vocabulary of music traditions in order to ditch linear narratives and the established grammar of electronic music.

Shackleton’s usual arsenal of resonating woods and metals, ceremonial polyrhythms and astral melodies acquire a freer, more spontaneous character by the intervention of keyboardist Takumi Motokawa and mallet player Raphael Meinhart, whose symbiosis with the producer generates a truly beautiful and multi-directional flow of energy. The sacral austerity of the music is paralleled by its sheer, seductive, harmonic power, one that draws new trajectories in time and space with its seemingly endless layers of arpeggios, beats, and drones.

For all their complexity and propulsion, these are indeed Tunes of Negation. The title, inspired by a poem by 13th Century mystic Jalalu’l-Din Rumi, is a description of what Shackleton himself hopes to achieve with the music, to “aid transmutation and enter into the light”.

Music written and composed by S. Shackleton except track 3 by S.Shackleton and T.Motokawa. Words for tracks 1 and 2 by S. Shackleton and H.Leigh.
S. Shackleton does the programming, electronics, synthesizers, and all related stuff.
T. Motokawa plays harmonium, keys, percussion, gongs.
R. Meinhart plays mallets and percussion.
Guest vocals on tracks 1 and 2, Heather Leigh.
Artwork by Zeke Clough.
Mastered and Cut by Rashad Becker @ Dubplates and Mastering. 
© Cosmo Rhythmatic 2019

Tunes Of Negation - Nowhere Ending Sky (CR10)

The Fear Ratio - They Can't Be Saved - New Album 
Release Date - 13th March 2020
Vinyl - CD - Cassette - Digital

The Fear Ratio - Sender

Nick Klein has released a fine line of killer vinyls through labels like Bank Records NYC, L.I.E.S, Viewlexx and recently the tasty "No Shortage of Rope" on Helm's Alter. His record for us is called "Actor Network Theory" and is a monumental trip touching down in darker ambient stuff and slower techno for that party you need to go to when all this lockdown bullshit is over. Klein is based in Holland nowadays.

300 copies. OUT IN NOVEMBER 2020!!! 
Distro through Boomkat. Digital will be available.

NICK KLEIN - SPIDER IN BROWN POWDER (iDEAL190 LP)

Spectrum Spools was a label based out of Cleveland, Ohio and Vienna, Austria created by John Elliott and Peter Rehberg to bring you limited edition vinyl from the finest in forward thinking modern music.&#13;
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<b>*WE DO NOT ACCEPT ANY DEMOS*</b>&#13;
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http://www.spectrumspools.com&#13;
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Have a look at the folks we follow, some are artists past, present and otherwise like-minded.

"Luau" by Brett Naucke

Spectrum Spools

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