immersive track (and top notch sound design)...

Tomás Tello presents Alta y Plana...mixtape made of his own tracks, classic tunes, field recordings, news readings, associated bands y  conocidos ...

FREE DOWNLOAD

check Tomás Tello Cimora LP: https://discrepant.bandcamp.com/album/cimora

Tomás Tello music: https://tomas-tello.stream/

Alta y Plana

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Tomás Tello - Alta y Plana (2021 mixtape)

● CD01_SPLIT : Humbros / R​.​I​.​P. ●

❊ Composé et mixé par Humbros
❊ Masterisé par Ernest Bergez (Sourdure)
❊ Artwork par Josué Confort ©
❊ Sortie le 9 juillet 2021
❊ Cassette, 80 exemplaires, papier recyclé

→ champdoner.bandcamp.com/album/cd01-split-humbros-r-i-p

Sumac

A1 - Humbros - Sumac

LAURIN HUBER, Dog Mountain, LP

Release date - July 30th 2021
Catalogue nr. - HG2199
Format - Vinyl / digital
Hallow Ground

hallowground.bandcamp.com

Tracklist:
1) Raja (04.59)
2) Nickel (05:50)
3) A Town Is Not A Town (04:54)
4) Storskog-Borisoglebsk (07:32)

Credits:
Composed and recorded by Laurin Huber
Mixed by Rolf Laureijs
Mastering by Lawrence English
Artwork by Michael Bodenmann

///
»Dog Mountain« is the second release by the Zurich-based producer and composer Laurin Huber on Hallow Ground. After last year’s »Juncture« saw the Edipo Re co-founder work mostly with synthesizers and programmed rhythms, the four tracks are much more restrained, drawing on tape loops and feedback, recordings of acoustic guitar and synthesizers such as the Korg MS-10 as well as field recordings that relate to the overarching topic that informed the making of the record. While »Juncture« had previously aimed at deconstructing the binaries and dualities that shape our lives and thinking, »Dog Mountain« is dedicated to geographical divisions that result from political processes and social constructions. »›Here‹ means one nation, ›there‹ another,« writes Huber in a literary piece that accompanies the record. »Being in sound, such a separation seems odd.« 

While treating the metaphor of the border as a »membrane, registering and translating the vibrations of its surroundings« and thus as something that is constantly (re-)defined, maintained and defended however, the artist also takes into consideration that »one cannot escape one’s standpoint,« as he puts it. The music on »Dog Mountain« may transcend and overcome certain borders, but it does not deny the realities that they impose on each and every one of us – whether in our political lives or in the realm of sound. This is mirrored in Huber’s engaging in the structural and sonic interplay of repetition and difference. Working with slowly evolving and modulating elements that are exposed to slight shifts, »Dog Mountain« puts a focus on the interaction between small elements that together form a bigger whole which is marked by constant evolution and change. 

Opener »Raja« (»border« in Northern Sami and Finnish) starts off with a two-note melody played on an out-of-tune guitar. Different field recordings and synthesizer sounds drop in and out of the mix until the dynamic shifts and Huber starts playing more notes on his instrument, thus increasing the tension. It’s a meditation on minimalism, but also a piece that mediates between notions of what constitutes the difference between noise and music or referentiality and abstraction in sound. After »Nickel« (named after a Russian monotown near the border to Norway) dedicates itself to explore the friction between hissing white noise and melancholic tape loops, »A Town Is Not a Town« (a phrase taken from the documentary »Kiruna – Rymdvägen«) structurally mirrors the experiment of »Raja« with very different sonic means. 

Closing the record, »Storskog-Borisoglebsk« (the title refers to the northernmost land border between Schengen-Europe and Russia) is the longest and most challenging piece, working with both long-form drones and musique concrète elements. It proposes a synthesis of the opposites that are explored patiently and with much attention to detail throughout this record.

LAURIN HUBER - A Town Is Not A Town (HG2199)

From yolabmi's Before Your Past Lives, available now on tape and digital:
https://muzaneditions.bandcamp.com/album/before-your-past-lives

yolabmi - VI

https://trustcollective.bandcamp.com/album/volunteer-coroner-yolabmi

Breathe(Full)

Sans En Altérer La Nature

Goddaughter - Goddaughter C38. Available Summer MMXXII
Echoes of music smeared with urban field recordings from NY's Weston Czerkies (Magnetic Coroner / Prime Ruin). Simply GORGEOUS! Limited to 80 copies with screen printed artwork.

Goddaughter - Goddaughter C38 (Excerpts)

Object number: 97/254/1 

Alexandra Spence’s work explores earth’s material relationship with space via satellite disposal and debris, and the uncanny historic connections between electronic music and space exploration. Travelling through orbits, life cycles and transmissions, Stellar Nullius reconsiders the earth’s atmosphere, not as a liminal zone, but as a provisioning body whose wellbeing is deeply intertwined with our own. 

Alexandra Spence is a sound artist/musician based in Eora (Sydney). Through her practice Alexandra reimagines the intricate relationships between the listener, the object, and the surrounding environment as a kind of communion or conversation. She has presented her work worldwide and released music with Room40, Longform Editions, MoreMars (with MP Hopkins), Canti Magnetici, and Mappa. Find Alexandra on Instagram @alxandraspence and follow her work on Linktr.ee https://linktr.ee/alexandraspence.

With thanks to the interview subjects: Dr Annie Handmer, Professor Iver Cairns, Alan F Jones, Dr Sarah Reeves, Martin Gotfrit. Work title borrowed from Elizabeth Povinelli. 

Oscillations is presented by Jon Tjhia and sound design is by Erin Hyde (Sig Nu Gris).

ALEXANDRA SPENCE — STELLAR NULLIUS

Pre-order now

UTR – 141

Le Moors – Tendrils

Bio:

Wil Bolton

Wil Bolton is an artist working predominantly with sound. His work combines electronic tones with digitally processed acoustic sounds including field recordings and musical instruments. He has exhibited in a number of exhibitions, including A Thing About Machines, Coventry (2009), Trading As…, King’s Lynn (2009), Transfixed Motion / Transitory Still, Sheffield (2009), Sound:Space, Bracknell (2008), Black Powder + White Party, Seoul (2007), and Fresh Interventions, Oxborough (2007). He has also released music on various record labels under the name Cheju and has performed at several events, including Late at Tate (2009), the Glade Festival (2008), Sunrise Festival (2007), and the opening for Julian Opie in the 90s (2007). His work has received airplay on radio stations including Classic FM (UK), Resonance FM (UK), and Digital::Nimbus (USA). He collaborates with Shay Nassi as Shail and has also worked on projects with video artists, choreographers and dancers.

wilbolton.co.uk

______________________________________________________________
Bio:

Jeff Stonehouse

Jeff Stonehouse is a british avant-electronic composer. He has been experimenting with sound on and off since the mid eighties, originally with tape loops and shortwave radio, and by the nineties he moved into psych/drone guitar music. This led to an ambient/trance/dub phase, releasing music on the Magick Eye label as Spiralhead. Jeff Stonehouse then took about 10 years to focus on a more personal way of using sound as a defence against itself.

In 2010, Jeff Stonehouse became one half of the ambient/drone project called Listening Mirror, along with Kate Tustain. The Listening Mirror project released albums and EPs on Somehow Recordings, Rural Colours, and Hibernate, before being terminated in February 2013.

Jeff Stonehouse then explored different sonic landscapes. Travelling with him was Alicia Merz, who also releases amazing intimate and heartbreaking music as ‘birds of passage’. Together they inhabited and explored the dreamscape that the called Snoqualmie Falls – a place of dark and spectral beauty that was reflected in the music they produced together, releasing an EP on Cooper Cult, and an album on Twice Removed. The Snoqualmie Falls project is currently undergoing a hitatus, to allow Jeff and Alicia to focus on other projects.

Jeff Stonehouse has also worked with the talented Sanja Vernacki, under the name Bewilderness. Recent works also include the self released album Mariners Willow and the soon to be released Become Becoming, a piece written to accompany a gallery show by the American artist Jeanie Tomanek.

In 2015, Jeff Stonehouse signed a deal with The Sublunar Society and released the album On Returning.

listening-mirror.bandcamp.com
credits

releases April 27, 2016

Music by Wil Bolton + Jeff Stonehouse

Artwork by Jeff Hogue

Layout / Design Mark Kuykendall

Mastered by Wil Bolton
shipping out on or around 27 April 2016
edition of 100

Edition of 100 / Factory Replicated CD / includes additional artwork by Jeff Hogue (www.jeffhogue.net)

Pre-order Here: unknowntonerecords.bandcamp.com/album/tendrils

www.unknowntone.com

Le Moors - Where A River Sings

Taken from the album 'Metabolist Meter (Foster, Cottin, Caetani and a Fly)' released as LP and Digital.

Max Eilbacher 'Metabolist Meter (Foster, Cottin, Caetani and a Fly)' (excerpt) (SPGRM 002)

Souvenirs cachés / Innermost

Souvenirs cachés

Midwest label exploring the surreal – avant-garde blended with film noir, as expansive and isolating as the Oklahoma prairie | www.Unknowntonerecords.bandcamp.com

Le Moors - Where A River Sings

Unknown Tone Records

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