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Arve Henriksen - Saraswati

Infinite Greyscale is delighted to present a new long-form composition by Stara Rzeka. The Polish village of Stara Rzeka and its surrounding countryside were devastated by a huge tornado on the 14th of July 2012. Stara Rzeka is where musician Kuba Ziołek, who adopted the name as one of several artistic projects, spends his summers, and the morning following the storm Ziołek was present to witness the aftermath. 
 
This self-titled piece opens to the crackle of electricity in the air and a distinct impression of menace. The distortion softens, but never truly fades, as it gives way to song; a graceful and melancholy ode to what nature has been divested of in the storm. Eventually this human presence, like the tornado, departs to leave the composition sounding like the land itself; wounded but brimming with life, buzzing and psychedelic. 

The fact that the artist, music, and location all exist under one heading suggests that these elements are interdependent and inseparable. This is music as elegiac at it is sanguine, at perpetual as it is fixed in time, and here Stara Rzeka is all of those things.



Single sided 10”, pressed on dark green vinyl with screen-printed b-side. Numbered edition of 300.  
Handmade artwork by Paul McDevitt and Cornelius Quabeck. Screenprint by Ulrich Schmidt-Novak. 
Includes numbered insert, photograph, and download code.
Mastered & cut by Rashad Becker at D&M, Berlin.


Stara Rzeka – Stara Rzeka IGR05

Purchase here: geographic-north.com/cassette/m-sage/
Catalog #: GN21
Rosso Corsa cassette, limited to 100

Born and raised in Ft. Collins, Co, Matthew Sage established himself as a formidable player in the greater experimental scene as a producer of utterly monumental works of processed ambient music using anything and everything at his disposal as M. Sage, along a bevy of other pseudonyms. From guitar, pedals, cello, field recordings, and severe but tasteful post-production, sound takes shape in a carefully focused but altogether organic way. Sage's acts of grandeur don't simply fall back on piling on just any noise or sound. Tones are sifted out of the ether naturally, separating themselves with the ease of an inherent belonging, best heard earlier this year on the sprawling A Singular Continent LP, wherein Sage created sonic worlds, fabricating entire geographies, geologies, latitudes, and histories. 

With Data in the Details, Sage turns the focus inward, pulling from a series of deeply personal scenes in his final two months in Ft. Collins doing data entry and moving high-end furniture into high-end mountain homes. The resulting two tracks process the experiences in disparate but inextricably linked ways. A-side’s “Data in the Details (heads up extended edit)” routes an amorphous and elusive trail of textured ambient modes. Glitched and muted melodies fold on top of one another in ways only Vladislav Delay previously mastered, while frigid patterns of sound ice over similar to Fennesz’s alluringly processed tones.

B-side’s “Data in the Details (mover isuzu dub edit)” repurposes the ample washes of the original track into more rhythmic and minimal acid-dub. Calling to mind Porter Ricks’ sub-aquatic dubbiness, traversing Jan Jelinek’s mutant, kraut techno, Sage revels in a sort of muted throb that flows through the entire side with both nothing and everything to lose.


02 Data In The Details (Mover Isuzu Dub Edit)

Scratch Massive - In The Wild II

The art of Kammerflimmer Kollektief is deception. It is a persuasive and seductive art, resulting in incorrect assessments and doubtful perceptions. It is an art of disorientation and misdirection. In the Kollektief’s current production Désarroi (disorientation), their 10th and wildest album, they do it again: Welcome to the Kammerflimmery!

Kammerflimmer Kollektief: Désarroi #1: Mayhem!

David Lang: cheating, lying, stealing

cz023 Shirley M EP - comfortzone feb16, 2015

written and produced by sonae

sonae - not the moon i don't see any flowers there

The Summoner comes 4 years since the last Kreng album Grimoire and 3 years since the massive retrospective box set Works for Abattoir Férme 2007-2011. A lot has happened in between, and this new recording can be seen as quite the departure from the aformentioned. 

His most personal album to date, The Summoner is based around the 5 stages of mourning and is made after a year of losing several close friends. Hard enough material to work on, he decided to add a 6th stage, entitled The Summoning to be able to arrive at the finalé, Acceptance. 

Conjuring up the spirit of György Ligeti, the first half of the album is made entirely of 12 string players being directed to play around, make noisey clusters and crescendoes, moving you between Denial, Anger, Bargaining and Depression. In fact, The Summoner is the first Kreng album NOT made by hordes of samples. Music to really dig deep in to. 

Following into the second part of the album, twists and turns are taken and it's hard to know where exactly you are. The Summoning's haunting organs and smoke-filled chambers lead you in to an earth- shaking wall of guitars, drums and bass courtesy of Belgian doom band Amenra. Leaving you in a state of shock, the album closes in an incredibly heartfelt and quiet way with the fittingly named Acceptance.

Kreng - Depression

Track from NE15 Född Död - Studie I Närhet, Längtan Och Besvikelse LP

Order here: http://northernelectronics.bandcamp.com
https://clone.nl/item34101.html

Född Död -  I smärtan, fri

A preview of an album on Glistening Examples,
Out on February 17th 2015

Constructed by Rutger Zuydervelt,
Rotterdam, January 2015

Soprano saxophone by Otto Kokke 
Tenor saxophone by Colin Webster 

Mastered by Jason Lescalleet at Glistening Labs USA

soundcloud.com/glistening-labs
https://glisteningexamples.bandcamp.com/album/sneeuwstorm

Sneeuwstorm

Rutger Zuydervelt - Sneeuwstorm (preview)

Taken from the EP 'd/evolution remixed' released as Download.

LCC 'Quarz (Tujiko Noriko Remix)' (EMEGO 198X)

04 Psyche

One of the pieces I wrote as part of the score to the 2012 documentary film, "Outliers Vol. 1: Iceland".

More info here: www.outliersiceland.com

Choir (Outliers Vol.1)

Field recordings from the LA River, oboe player on subway platform, piano; processing.

WIP - Piano Composition S4

Coming out on Subtext Recordings 2nd February 2016. Image from a Fusion reactor.

Paul Jebanasam – Depart As Air Dx Stop ∂ρ ∂  Dt Somewhere = +∇⋅(ρ Sigma (y Waiting.... (SUB016)

Order the Clean War (Out Now):
https://williamryanfritch.bandcamp.com/album/clean-war

“Empty bellied gods, Unsatisfied man. Though we devour one another, we can never stomach ourselves. Oh hollow beast, human discord rings out hanging in suspense. How can we resolve such a flawed progression?” - WR. Fritch

William Ryan Fritch’s new album ‘Clean War’ arrives during uncertain times - hollow leaders, blurred friends and foes, a heavy mix apathy and aggression divide much of our society, a need to label people, places, and ideas so quickly in order to usher them away to our like and dislike piles with no more than a crooked word from our sponsors.

The current state of music shares a similar struggle, slap it with a genre label, file it away in under a week on whichever xyz music blog, and forget about it. William Ryan and Lost Tribe Sound have long attempted to combat this lethargic behavior by producing substantive music that you’d wholly regret never laying ears upon, music that holds a fire in its belly and challenges comparison. A perfect example of one such effort is Fritch’s new ten song album, ‘Clean War.’

Of course music becomes more intriguing and mystifying the less we talk about it, but a few words may help clear the path. ‘Clean War’ is an album of grave societal concerns, with poetic and deeply cutting lyrical verses that take direct aim at them. Take for instance this poignant moment from the title song, “There is no clean war. There is no absolute truth. There is no victimless deed, but we are deaf to the echoes of each.”

Musical themes established, what does the album actually sound like?  It’s an even further rejection of the soft, clean cinematic stock stamped out by today’s modern classical scene. Don’t let the title ‘Clean War’ fool you, it is anything but clean. It’s a woozy descent into some of the dirtiest psych music around. Pained orchestras of guitar, strings, horns, and synths rise from the swollen landscape; saturated, buzzing vocals cut the air, only to be devoured once again by the fog. The percussion lumbers through the album's more rock framed moments like a thirty ton, war-clad pachyderm laying waste to, and oddly propelling each worn and beaten reverie. In its passages of retreat, ‘Clean War’ delves into an entirely new world, one which comparatively speaking would rest comfortably alongside the dank tape delayed burial grounds of Ian William Craig and Leyland Kirby's Caretaker project.

‘Clean War’ is an undeniably human album, proudly displaying it wounds and disgust.  Fritch must purge these dark psalms in order to not be consumed by them. Yet in the mire, a gentler tone resides, one that knows there is still good in humanity. He leaves us with a solemn prayer - a call to be decent to one another, to be more than hollow beasts, to upset a future of poor repetitious behaviors.

‘Clean War’ arrives right on the heels of Fritch’s incredibly bombastic final album in his 11 album Subscription Series, ‘New Words For Old Wounds’ delivered on May 20th, 2016. It’s worth mentioning, ‘Clean War’ is a look beyond, to a towering, shadowy mountain of music that lurks in the not too distant horizon. More on that soon!

All songs written, recorded and mastered by William Ryan Fritch  
Image licensed under CC 4.0 - (Source coming soon) 
Published by Settled Scores LLC (ASCAP 2016) 
Copyright by Lost Tribe Sound, LLC


Clean War

Protracted

Buy Album

William Ryan Fritch - Protracted (From Clean War)

Solid Steel in association with Serato (13th May) Roly Porter takes charge of Hr 1 this week. He began his career as part of Vex’d alongside Kuedo, releasing two albums, Degenerate and Cloud Seed, both on Planet Mu, along with several singles on Bristol’s Subtext imprint. He later returned to Subtext under his own name to begin a solo project, releasing 'Aftertime' and 'Life Cycle of a Massive Star'. Earlier this year he released Third Law on TriAngle and 2 tracks from the album feature in his mix alongside music from Surgeon, Kowton, Amnesia Scanner, Yearning Kru and Aisha Devi.

The Solid Steel website http://solidsteel.net/ for track lists and archive shows.
You can follow Solid Steel on  facebook.com/pages/Solid-Steel/175027509192663
twitter.com/SolidSteelRadio
Email solidsteel@ninjatune.net

Go to Hour 1 here https://soundcloud.com/ninja-tune/solid-steel-radio-show-1352016-hour-2-khraungbin

Hour 1 - Roly Porter https://twitter.com/RolyPorter   www.rolyporter.com

Kara-Lis Coverdale	_	Saps/h	_	Sacred Phrases
Eric Holm	_	Untitled	_	unknown
Colin Stetson and Sarah Neufeld	_	Never Were The Way She Was	_	Constellation
J. G. Biberkopf	_	Black Soil	_	Knives
Emptyset	_	Interstice	_	Subtext
Surgeon	_	Yourself	_	Blueprint
Kowton	_	Shots Fired	_	Livity Sound
Hex	_	Exotica	_	Liberation Technologies 
Roly Porter	_	Departure Stage	_	Tri Angle
Peder Mannerfelt	_	Building of the Mountain	_	Peder Mannerfelt 
Alessandro Cortini 	_	Lotta	_	Hospital Productions
Yair Elazar Glotman	_	Vile Value	_	Subtext
Amnesia Scanner	_	Gardens Need Walls	_	Young Turks 
Laura Cannell	_	Be Not Afeard	_	Front and Follow
Ipek Gorgun	_	Bloodbenders	_	unknown
Yearning Kru	_	Sarnath	_	Planet Mu
Joshua Sabin	_	Untitled	_	unknown
Klavikon	_	Wave	_	Nonclassical
Aisha Devi 	_	OMA (Abul Mogard Remix)	_	Houndstooth
Roly Porter	_	Known Space	_	Tri Angle

Solid Steel Radio Show 13/5/2016 Hour 1 - Roly Porter

Recorded at the University of Texas at Arlington, January 2011

Arvo Part - Fratres (Ryan Cockerham, violin, Adam Jackson, piano)

The tale of the mythic pentaki mountain has been engraved on a two-sided circular piece of wax.

the north face of the peak is steep, abrasive, and has been the subject of many legends in the region. it is said that whoever would manage to climb it would find a plateau, leading to a place called “the single source of truth”.

considered as the ultimate goal by both psychedelic gurus and database o
ptimization corporations, and as an ideal retirement destination for a couple of lost souls in search for coherence and objectivity, the source diffuses endless loops of haunted voices, apparently sampled from a discarded call center, running low on power, encouraging listeners to shorten cycles, deliver requests and improve user experience.

it is also said that anyone climbing from the south side would never reach the summit or find his way to the plateau, and would always end up on a lower altitude than where he started.

this topographical anomaly is probably the reason why the south face of the pentaki has always been favorited by locals, with its sunny weather and its luxurious vegetation flourishing along the soft downward slope, leading to a slow and peaceful end.

Kangding Ray . The Pentaki Slopes . 12" E.P
r-n 145 . raster-noton

A1 : North
A2 : Plateau ( a single source of truth )
B1 : South

Plateau ( a single source of truth )

Edited Version of You'll Be Fiiinnne, taken from The Withdrawing Room LP (Pathway006)

Seek solace. Be still and drift. Withdraw and be there. There. Inside. A chair awaits. A beginning built from an ending, from leaving, from afar. In times such as these, The Withdrawing Room is a safe haven to leave behind all that weighs heavily and surrounds us. We remark how comfortable the chair is, how exquisite the view is outside the window, the aroma, the breaths to be taken as you become aware of the minutia all around you and the sounds emanating from Mary Lattimore’s harp, warming your feet, your hands, your heart. Breathe. Previous collaborations have seen Mary matching wits with such esteemed luminaries as Thurston Moore, Meg Baird, Kurt Vile, Ed Askew, Fursaxa, and Jarvis Cocker. But for this debut work, Mary sequestered herself in a room, much like this one, to kindle three distinct works for keeping the listener company as he or she enjoys the view. The nuanced notes of the harp strings sing and reverberate amid subtle electronics courtesy of Jeff Zeigler on the 24-minute long piece “You’ll Be Fiiinnne;” “Pluto the Planet” meanders at a slow and steady pace as the sun makes its way across the sky and the gentle plucks of the silk and steel resonate within, beyond; the closing chaos of “Poor Daniel” charts a recklessness that embraces the listener as he or she quietly makes their way out of the room to tackle the world anew.

CREDITS + INFO

Recorded and mixed by Jeff Zeigler at Uniform Recording
Mastered by James Plotkin
Artwork by Becky Suss – 76 Meadow Woods Road, oil on linen, 72 x 120 in
Design by Chris Koelle
Mary plays a Lyon & Healy Style 30 harp and Line 6 looper
Jeff plays the Korg Mono/Poly on Track 1

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tilleri