Laurie Spiegel's "The Unquestioned Answer" on a Moog Minimoog with Eventide Space

Laurie Spiegel: The Unquestioned Answer

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Jon Hassell - Toucan Ocean
Faust - Jennifer
Fennesz - Rivers of Sand
Alice Coltrane - Krishna Krishna
Nina Simone - Isn't it a Pity
Emekah Ogbo - Danfo Mellow
Myra Barnes - The Message from the Soul Sisters, Parts 1 & 2
Gil-Scott Heron - Alien (Hold On To Your Dreams)
John Martyn - Don't Want to Know
Mamma Sani - Tunan
Suicide - Rocket USA
Coil - Lorca Not Orca
Ryuichi Sakamoto - Venezia

Olmec jadeite mask c. 900-500 BCE

Rivers Of Sand Mix (A Mix From Mr Twin Sister)

As KEXP celebrates its 50th anniversary, we're looking back at the last half-century of music. Each week in 2022, KEXP pays homage to a different year and our writers are commemorating with one song from that year that resonates with them. This week, Dusty Henry looks at “Degree of Change” by Nairobi and Berlin-based sound artist KMRU and turning to ambient music as a place to reflect during chaos.

Read the piece here: https://www.kexp.org/read/2022/5/25/50-years-music-2020-kmru-degree-change/

50 Years of Music: 2020 – KMRU - “Degree of Change”

The Motion EP marks the return of FAX to Static Discos. Almost 15 years after his first release on the label he founded, FAX shows a lucid craftsmanship of electronic sounds that go deep and wide through headphones or amplified systems. Following the experimental leanings of his last release, The New Rage, on Indian Gold, the Motion EP somewhat sees FAX return to dance music, while maintaining an edge of adventure and new found music lands.

http://staticdiscos.com/sta064/

FAX - "X"

Freek Banning Session Tape Wreck - Ruff-T - Harold Budd Boom Bap Juno PIV

Freek Banning Session Tape Wreck - Ruff-T Harold Budd Boom Bap Juno PIV

videos here

DeadTonguesFromOutterSpace
Chapter #31 on @noodsradio 12th January '25

Ocean of Tenderness

Tracklist
Ashra - Ocean Of Tenderness
Growing - Variable Speeds
Maria Sabina - Santo...Nana
Mataparda - La Papa Suave
Matthewdavid's Mindflight - Dune Enigma
Ed Ruscha V & the Only Thingz - Breaking Clouds
Katsuya Hironaka - Entrance
Luis Paniagua - Preparativos Para El Viaje
log(m) & Laraaji - Galaxea
Pablo's Eye - Mysterious city
Bélver Yin - La Vida Está En Otra Parte
Sebastian Mullaert - Just This
Suso Sáiz - Healthy Digestion
OKRAA - Rememora
Kokubo Takashi - Quiet Inlet
múm - Sunday Night Just Keeps On Rolling

DTFOS #31 Ocean of Tenderness // noodsradio 12th jan '25

Terry Riley - Persian Surgery Dervishes Performance 2, Part 1

From the album The Kid out October 6, 2017 on Western Vinyl

Pre-Order The Kid
BLEEP https://bleep.com/release/86790-kaitlyn-aurelia-smith-the-kid
Norman Records https://www.normanrecords.com/records/166212
Bandcamp https://kaitlynaureliasmith.bandcamp.com/album/the-kid
iTunes hyperurl.co/8n4qa5
WV http://westernvinyl.com/shop/wv170

In 2017, the musical term “electronic” is nearly obsolete given the ubiquity of computerized processes in producing music.  Even so, the prevailing assumption is that musicians working under this broad umbrella must be inspired by concepts equally as electrified as their equipment.  Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this notion couldn’t be further from the truth, and that more often than not, rich worlds of synthesized sound are born from deep reverence of the natural world.  Smith (who by no coincidence, cites naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself.  The album, which punctually follows up her 2016 breakthrough EARS, chronicles four defining cognitive and emotional stages of the human lifespan across four sides of a double LP.

The first side takes us through the confused astonishment of a newborn, unaware of itself, existing in an unwitting nirvana.  Smith’s music has always woven a youthful thread befitting of the aforementioned subject. Here she articulates it in signature fashion on the track “An Intention,” which serves not only as a soaring spire on The Kid, but on her entire output.  There is playfulness here, but it's elevated by an undertone of gravity into something compelling and majestic that is fast becoming Smith’s watermark.  The emotional focus of side two is the vital but underreported moment in early youth when we cross the threshold into self awareness.  The subject is profound enough to fill an entire album, but rarely makes its way into a single track, indicating Smith’s ambition to broach subtler and deeper subjects than the average composer.  This side offers up another highlight in the form of “In The World But Not Of The World” which serves its subject well with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end pulse.

Side three emphasizes a feeling of being confirmed enough in one’s own identity to begin giving back to the formative forces of one’s upbringing, which is arguably the duty that all great artists aim to fulfill.  This side ends with the exploratory album cut “Who I Am & Why I Am Where I Am” recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble piece of sound design serves as a contrast to side four’s verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself.  This final side represents a return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life.  On “To Feel Your Best” this concept is voiced in the bittersweet refrain “one day I’ll wake up and you won’t be there” which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the listener, and both interpretations are equally moving.

Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners, and here she represents her kind proudly.  The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here.  As Kaitlyn Aurelia Smith explores her existence through music, she guides us in gleefully contemplating our own.

The Kid

Kaitlyn Aurelia Smith - "To Feel Your Best"

Hello friends! 
We have a gift from one of the most interesting artists of the contemporary Russian dub-techno scene, a surprise release from Heavenchord «Reshapes». 
The reason for the creation of this release was the tracks that are deeply settled in the soul of the author. 
Showing his vision for these tracks through musical experiments, music was continued in different electronic genres. However, while listening to «Reshapes» is felt deep the author's love for dub-techno sound, this is the whole Heavenchord. In the release there are a lot of prolonged, long tracks, this is the time when the author had to haunt his mind, switch to some moments of life to better convey what is happening inside him. 
We want to thank the author and our friend Arthur for the perfect opportunity to release significant for him release on our label. Heavenchord «Reshapes» you can download in the best quality absolutely free on our Bandcamp. 
Have a nice trip!

Reshape by Heavenchord (@nirgoona)
Design by Thomas Carmody (@thomascarmody)
Photo by Anton Darius

Reshapes

Download on Bandcamp

Steve Roach - Quiet Friend (Heavenchord Reshape)

Bing & Ruth - And Then It Rained

Purchase: bit.ly/3oh8DpK
Catalog #: GN59
January 22, 2021
CASS+DIGI

Ever the aural adventurer, Carmen Villain has long traversed a boundless array of sounds, deftly moving from art nouveau pop to fog-laden avant-dub. Yet at every artistic turn, the Norwegian-Mexican’s chameleon-like charm seldom loses its alluring, organic beauty. Fresh off her contribution to 2020’s A Little Night Music… compilation, Carmen joins Geographic North’s Sketch for Winter series for its 9th installment. Perlita, named after Carmen’s grandmother living in Puebla, Mexico, is a sweetly somber reflection on the ever-present cycle of and hibernation and reemergence.

The A side begins with “Everything Without a Shadow”, a wide-angled and windswept vista of expansive permafrost and still-glowing embers of a recently extinguished fire. A sign of life in an otherwise desolate place. “Two Halves Touching” continues to drift through the frigid scene, lightly pulsing underneath a muted but vibrant tundra until coming upon echoes of voices chanted into the snowdrift. “Light in Phases” follows the cue with hurried hesitance, uncovering a sonic slush of radiant zither, blurred voices, and calm resolution.

“Things That Are Solid” begins to thaw the B side, strolling through newly uncovered verdancy, welcoming murmurs peeking out of the snow. With “Molina”, any last remnants of Winter have disappeared, leaving only a solemn suite of piano motifs breaking ground like seedlings bursting to life. With help from Johanna Scheie Orellana on flute and alt-flute, the album’s closer “Aqua Azul'' floats along with unencumbered motion like a happy stone skating across a tranquil pond.

Carmen Villain - "Everything Without Shadow"

Mexican label established in early 2002 by Ejival, Fax and Murcof. Label proudly has worked with Mexico's best electronic music producers, including Fax, Murcof, Carrie, Childs, Latinsizer, Duopandamix, Cubenx, One Second Bridge, Terrestre, Kobol and others.



FAX - "X"

static discos