Leipzig based TIBSLC (The International Billionaire's Secret Love Child) sculpts hazily ambiguous but meticulously detailed sounds hypersensitive to nanoscopic movements and fleeting midnight feels. Blending subtle environmental recordings with processed digital noise and feedback, the eight parts of ‘Delusive Tongue Shifts - Situation Based Compositions’ find themselves in good company on sferic’s roster of intuitive ambient explorers, but TIBSLC’s work is distinguished by an arcing narrative quality that emerges across its yawning spaces, each viewed by perspectives ranging from lofty, birds-eye to more intimate and voyeuristic.

Limited Edition 2LP housed in hi-gloss sleeve & digital - OUT NOW

@tibslc

TIBSLC - Delusive Tongue Shifts - Situation Based Compositions (sferic009)[Preview]

Hideki Umezawa
"Music for Installation Works"

https://ho-lm.bandcamp.com/album/music-for-installation-works

01.  Structures of Liquidity
02. Strata 1 - Ancient Chichibu Bay
03. Strata 2 - Sedimentation of the Mind
04. Strata 3 - Modernity
05. Strata 4 - Entropy Made (in)Visible
06. 沈潜  Sinking into Silence

Track.1 - Structures of Liquidity (2021)
"Open Space 2021: New Flatland" at NTT InterCommunication Center, Tokyo
30 Oct - 19 Dec 2021 , Japan

Track.2-5 - Desiring Unspeakable Entropy (2019)
“Desire: A Revision from the 20th Century to the Digital Age” at Irish Museum of Modern Art, Dublin 
21 Sep 2019 - 22 Mar 2020, Ireland

Track. 6 - 沈潜 Sinking into Silence (2018)
“Lively in-between” at Aomori Contemporary Art Centre, Aomori
23 Nov 2019, Japan


Label - hōlm
Edition - CD, 200 copies
Date - 5 Dec 2021
Artwork - Koichi Sato
Design - Tadao Kawamura
Mastering - Makoto Oshiro

Additional Book (ltd.50)
Text - Minoru Hatanaka, Seiha Kurosawa
Translation - Tomoko Hojo

Music for Installation Works

Hideki Umezawa  - Music for Installation Works (excerpt)

“hi leaves” is the new full-length record from soft tissue, the duo of Glasgow-based artists Feronia Wennborg and Simon Weins. Following their self-titled debut for Penultimate Press in 2019, this collection examines microsound by way of extended amplification technique, bone conduction, domestic recordings, and digital feedback. Tracks like “plant pot” and “kettle” appear to disclose their source material, presenting wonderfully tactile environments of highly articulate sound. Wennborg and Weins prove themselves to be masterful arrangers of discrete, organic material, weaving together knotty and immersive compositions from these sharp, prickly sounds. Ultimately, soft tissue inhabits an intoxicating soundworld somewhere in between the patient abstractions of composerly eai music, the haptic indulgences of ASMR, and the diffuse digital pastorals of the 90’s a-musik/Cologne scene.

Written and produced by Feronia Wennborg and Simon Weins
Mastered by Kassian Troyer at Dubplates Mastering

LP/Digital available via studentsofdecay.com and studentsofdecay.bandcamp.com on 3/4/22

misc 2

Artist: picnic
Title: Lucky Number
Catalog: deis, 9
Format: CD, Digital
Mastered by Joseph Buchan
Cover Artwork by Eyrie Alzate
Additional Artwork by Alexandra Ragg

Lucky Number

Bandcamp link

'lucky number' by picnic (preview)

After the Bend is the second album from Louisville based Flanger Magazine, and the follow up to FM’s 2018 debut, Breslin. Whereas Breslin was the solo creation of Christopher Bush, an album noted for “an astute synthesis of ‘library music’ and solo acoustic guitar,” and “a seamless blend into the uncluttered and airier side of classic 1970’s giallo,” After the Bend is an ensemble affair. An ecosystem, a perfect mutualism bodies forth—of strings, outdoor recordings, electronics, reeds, and percussion—featuring new FM players Anna Krippenstapel (Frekons (Freakwater + Mekons), The Other Years), Jim Marlowe (Equipment Pointed Ankh, Tropical Trash, Sapat), Eric Lanham and Benjamin Zoeller (both from Caboladies). The various combos perform with both a distinguished efficacy and unhurried Sunday drift—charged and beautiful, pulsating and pleasing. The production is subtle and tasteful. Mutating past the old saws of bounded individualism, a strange form of tentacular life accrues, cyborgian-fungral-tangles of the more-than-human variety. 

Robert Beatty’s cover art of otherworldly and interconnected river-scape gradients, coupled with song titles like “Reservoir,” “Falls Fountain Removed,” and “Sympathies for the River,” cue and clue the listener toward a river as a singular multitude analogue for the album. Interstitial gaps, clearings and openings give rise and merge into an accumulated flow from the tributaries of spirited improvisational performance, palimpsestic song cycles, and high fidelity studio production. The composite sound-image of After the Bend refuses to put both oars down into any one of the eddies of the folk, sound, chamber, electronic, or jazz idioms, and instead glides along the currents found within the slipstreams between.

Gathering samples, a River Doctor Limnologist inspecting the properties of After the Bend might note the specter of Leroy Jenkin’s free-violin heat-light deepin the water’s thermal stratification. Or mortgage the late-Maestro’s time with Gruppo di Improvvisazione Nuova Consonanza to pay down the growing river heat budget. Or take one’s dirty buckets to the banks of the 19th laundromat where Walt Dickerson plays his vibraphone parts from Divine Gemini with dowsing rods. Or excavate the bedrock in the drainage basin, noting skeletal remains of a Shostakovich string quartet attempting to tune up a Kentucky Fiddle’s subsequent influence on the chemical composition of the water. Or consult the historical revisionist reenactment troupe’s episode of Fishing with John (Fahey) in which Codona, The Sea Ensemble and Nuno Canavarro guest host as their fleet of paddle boats churn river water into a regal lager, and all the fish get drunk in their quest for the leaner enamel Hosianna Mantra GPS coordinates of the Fattened Herb.

Bush and Marlowe recorded and produced the album at End of an Ear Studios, located in the Portland neighborhood, in the west end of the city of Louisville, bordering the Ohio River, between Kentucky’s Upper South and the Indiana’s Midwest, during the first year of the global pandemic, amidst the planet’s sixth great extinction event. As good a time to be alive as any other -Kris Abplanalp

Vinyl/Digital available 05/12/22 on Students of Decay

Sympathies to the River

Theodore Cale Schafer (@theodoreschafer) and Angelo Harmsworth (@angeloharmsworth) are old friends who met through their involvement the Santa Fe, New Mexico underground. With Schafer currently residing in New York City and Harmsworth in Berlin, the two came together for a special collaborative performance in our NYC office.

This performance can be listened to in its entirety and purchased as a digital edition at nights.ninaprotocol.com, with 100% of the proceeds going to the artist.

Nina Night - 008 - Theodore Cale Schafer & Angelo Harmsworth (Clip)

Red Water

"Pulsar Acid" is OUT NOW on SUPERPANG
https://superpang.bandcamp.com/album/pulsar-acid
Watch the video:
https://youtu.be/HrG6n9Wc3KE

*Playback on stereo speakers is recommended, otherwise single stems might not be audible*

Composed and produced by Jung An Tagen & Eric Frye
Software by Marcin Pietruszewski
Mixing and mastering by Jung An Tagen
credits
design: Joe Gilmore
released October 10, 2020

Jung/Frye - "Pulsar Acid"

grow ft. nueen

Hi Q

..been ok i guess

From ANM047 "Climat Avenir", by Simon Chioini — CD Digipack

Climat avenir ; portrait of unexploited lands, of deserted spaces, of a corrosive and venomous flora. Irked protagonists, roaming livestock, their acidic cries.
Beauty of the blue-green lakes, of the scintillating stars under clouds of bronze. The earth's foundational movement.
Crashing ice. Solar winds.
This work cycle is an imagined world voided of any human presence, or succeeding it. It is a prismatic composition: a vibrant landscape, a topographic map, an exploded geode.
Macro. Micro.

Music composition and mastering by Simon Chioini.
Photography by Violeta Mayoral. Sculptures by Lara Fluxà. Art Direction and concept by Violeta Mayoral and Lara Fluxà.

Climat Avenir

ANM047 Simon Chioini — Réservoir III

Record label operating out of Cincinnati, OH. Active since 2005, Students of Decay publishes drone, ambient, musique concrete, and minimalist musics. Distributed by Morr.

Sympathies to the River

Students of Decay

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