CD available from: IMPREC.com

“an intoxicating sauce of stark and tripped out ritual music... which conspires to keep listeners in a semi-permanent trance state” Julian Cope / Head Heritage

“a heady brew of deep listening music that is almost medieval in mood and wholly reverential in technique” Edwin Pouncey / Wire Magazine

“Razen push the drone potential of medieval instruments like hurdy gurdy as well as shawm and recorders... into realms of total sensory overload” David Keenan / Volcanic Tongue



Razen's Postcards From Hereafter was recorded using a 17th century organ tuned at 398 Hz (meantone) in a Belgian cathedral erected in 1305. The ensemble explored, with rich results, the organ's strict and limiting tuning with an arrangement that included hurdy gurdy, recorders, chalumeau, violone and nyckelharpa.

Razen - Poscards From Hereafter - CD - Release: 3.24.23

Aeoi
Amazon Prim & political_noize
Ange Halliwell
Chatham Natural Gas
Corbin
Dviance
DJ Bingo
GEORGIA
hironori nagatsuma
innerinnerlife
Kelman Duran
Malibu
Organ Tapes
Pontiac Streator
Rully Shabara
Sky H1

Dare4distance

Out March 15th on @southern-lights-rec

Bandcamp: https://mattiaonori.bandcamp.com/album/tra-vento-e-oscurit

Tracklist:

A1 / Intro
A2 / Spazio profondo
A3 / :cambiamento
A4 / 6 giorni
A5 / rtf
B1 / La fossa della disperazione
B2 / I mostri hanno paura
B3 / Eppur sto in piè

Credits:

Written & Produced by Mattia Onori
Mastered & Cut by Tim Xavier at Manmade Mastering Berlin
Artwork Design by Acid Hazel
Distribution by Ready Made, Berlin
© Southern Lights Recordings 2024

Bandcamp

Mattia Onori - Tra Vento E Oscurità [Southern Lights]

Temper (For Clarinets & Shaker)

My favourite night dream

Performed recorded, mixed and produced by Emma Grace PEKIKA

Theplantsgrowingoutofmybody

This is a binaural rendering from a quadriphonic version for loudspeaker of Rarefaction initially created in stereo for loudspeakers. Scrolling down you can find the track on my page and compare both. Each type of listening is a different experience. The stereo version is made for loudspeakers not headphones (it will break the "stereo image") where the binaural version is made for headphones not loudspeakers (il will break the 360° spatial illusion). Leave comments, tell me about your listening experience in both cases.

RAREFACTION Binaural

Lorenzo Abattoir, Titled2

Kit Records founder Richard Greenan offers a tropical hangover tonic of off-beam electronics, weird field recordings and feel good pop wonk. Old, new, borrowed, blue. 
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/kitrecords/episodes/kitrecords-31st-august-2024

Kit Records 310824

Similar to Butch Morris’ “Conduction” ™ and Anthony Braxton’s “Language Music” syntaxes for improvisers, my "Autoschediasms" is a conductor’s vocabulary that is used to generate live composition through cuing specific ensemble members (or a group of musicians) to produce a given sound or perform specific actions. Autoschediams is a duet for conductor and orchestra that can be viewed as both an evolution of and a departure from both the Morris and Braxton vocabularies. 

This system contains three distinct methods that can work simultaneously and interchangeably. The first of these three methods is Gesture: a series of cues that indicate specific actions for musicians to perform given with a preparatory cue, followed by the conductor’s downbeat. The gestures can involve the use of up to four batons simultaneously by the conductor, depending on the nature of a given cue from this series. The second of the three methods is Autonomy: a series of ten (10) numerical signals (given using only the right hand) that indicate specific actions for musicians to perform of their own accord and in their own manner. These cues may also be performed in combination with one another by the same performer, when indicated with both hands or on a small placard. The third, and most involved, of these methods is Category. Similar to Autonomy, this method includes indications for musicians to perform activities in their own manner. However, the cues in Category are all indicated by either one or two small whiteboards. Moreover, there are multiple parallel series (strata) that can coexist within this method. For example, players are sometimes asked to perform a number of actions that are relational to another musician or a group. Another example could be a situation where players are asked to perform or repeat a series of distinct musical events (these could range from assigned memories that recall earlier performed actions to instrument specific playing techniques, among many other possibilities) or one or more minimally notated events. 

All three of these methods demand a considerable amount of time to learn and rehearse and are often juxtaposed into a unique whole, therefore creating a unique compositional model for orchestral and chamber music: one that incorporates painstakingly detailed formal processes and calls for both instrumental and virtual soloists to navigate highly prescribed performance parameters that may otherwise be ignored.

This is an excerpt of the fifth installment of my 2019 series of Autoschediams conducted by myself, featuring flute, English horn, bassoon, tenor saxophone, trombone, soprano (doubling on theremin), piano, viola, and two double basses. This work is spontaneously composed and therefore contains no score.

Autoschediasms

Autoschediasms MMXIX - V (Banff) [excerpt]

Daniel Avery & Alessandro Cortini - Enter Exit. Taken from the album Illusion Of Time out 27th March on Phantasy / Mute Records. Visuals produced by experimental audio/visual artist LESS THAN ONE and the track is online now in all the usual places.
Love DA xx

Illusion of Time

Stream / Buy

Daniel Avery + Alessandro Cortini - Enter Exit

Simply put, the music is slow and requires patience. Not much more explanation is needed. Published scores available from Edition Peters/Wise Music.

Autoschediasms MMXIX - V (Banff) [excerpt]

Tyshawn Sorey

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