Module Module - Bee In Hand

from 'Collection' [3xCD|4xLP BOX|DIGITAL]
including:
Cracked Mirrors and Stopped Clocks
Shakkei
Shakkei Remixed

available in January on all formats at [http://denovali.com/origamibiro]

Origamibiro is a collaborative project consisting of three core members: musician, soundtrack composer and producer Tom Hill, visual artist and filmmaker The Joy Of Box, and multi-instrumentalist Andy Tytherleigh. Originally started as a solo project for Tom, Origamibiro has since evolved into an audio-visual collective, producing studio music, art objects, interactive installations and hauntingly original live audio-visual performances. Origamibiro like to create work with an array of unorthodox processes and contraptions, found objects, video feeds and multi instrumentalism. Their aim is to create works of texture, lyricism and intensity.

Previous to Origamibiro, Tom Hill had been working with electronica and found-sound sampling through projects such as Wauvenfold and Penfold Plum. Origamibiro's first release, 'Cracked Mirrors and Stopped Clocks' saw a radical return to Tom's classical and electric guitar roots. Performed and produced entirely by Tom, 'Cracked Mirrors' also involved sampling additional atmospheric elements: the creak of his chair, the sound of his breath, the squeak of the wood in his guitar. The result is both intimate and melodic, tangible and atmospheric.

Tom was then looking to translate this music from studio to live environment and enlisted the help of The Joy Of Box (Jim Boxall). Jim had a background in fine art as well as live visuals. Both Tom and Jim were looking for ways to expand how they could approach live performances and utilise technologies but also retain a sense of fragility, texture, emotion and above all risk. Not long after, Andy Tytherleigh brought his multi-instrumentalist skills (double bass, ukulele, banjo, guitar) to what was now becoming a collective and the trio began to develop ways to bring all of these elements together with live looping techniques. Jim began to use objects and props to film and record live, Tom experimented with sampling found materials to add texture and rhythm to his guitar melodies and Andy layered multiple instruments to add depth and weight to the whole process.

The release of the second album 'Shakkei' saw an expansion in Origamibiro's sound - from an intimate personal space to an expansive terrain ('Shakkei' in fact translates to 'borrowed landscape'). The second album utilised field recordings and even a shared audio journey between Tom's Autumnal footsteps in English woodlands and Jim's muted boot crunch of snowy Eastern European forests. The third album 'Shakkei Remixed' came soon after featuring remixes by a host of artists, reinterpreting Origamibiro's material in further directions still. Origamibiro's live performances also expanded, now involving treated books, typewriters, found celluloid, paper, eerie wildlife recordings, home movies, sellotape and bespoke visual contraptions. All of these things had been added, adapted, even destroyed as a way to generate images and audio that could evoke a feeling, a response, an understanding or perhaps a question from audiences.

2014 sees the re-release of Origamibiro's entire back catalogue through Denovali and also the release of their fourth studio album. 

"The fall of a typewriter key, the pluck of a double bass, the ripping of paper - all these tiny, transient moments become the notes with which Origamibiro compose a world around them... And it's an extraordinary world: strangely calming in its slow revealing; startlingly beautiful in its climatic chiming; strong enough to cut through pixelated ennui" - dummy mag

Shakkei

Buy on all formats

Origamibiro - Quad Time And The Genius Of The Crowd

from 'III' [CD|2xLP|DIGITAL]
Denovali Records · den246
available on all formats at [http://denovali.com/bersarinquartett]

Melancholia. Longing. It is difficult to speak about these moods or states of the mind without invoking stereotypes. In ancient medicine, melancholia was considered to be one of the four temperaments, matching the four humours. In fact, melancholia, meaning "black bile" in Ancient Greek, was thought to be caused by an excess of this very body substance. By contrast, in more modern interpretations, literates and Freudians relate many variations of longing to the one primordial longing, the desire to return to one's mother's womb. In this context, the womb is considered to be the place of absolute comfort and cosiness, of total bliss. Thus it should not be surprising that to many of us melancholia is a mood which we like to invoke and to maintain, we like to envelop ourselves in it like in a warm blanket. Our brain and our sensory systems appear to be made for perceiving and emotionally responding to music in a very immediate fashion. Consequently music is the obvious drug for all of us melancholia-addicts. However, there is a thin line between melancholia and sadness, and music which is meant to be melancholic too often crosses this line by far. Only very few artists succeed in avoiding this crossing, and in creating music which is melancholia in its most pure form. It is safe to say that BERSARIN QUARTETT - the electronic music project of Thomas Bücker - is one of them.

After his successfull selftitled debut in 2008 and the sophomore "II" in 2012 - album of the month in many magazines and in numerous "Best of the year" lists - Bücker returns with his third BERSARIN QUARTETT album "III", due for release 6.11.2015 on Denovali Records. Much like his two predecessors, III is a pure paradox. It is the creation of a perfectionist, an adamant control freak. Every element, be it a note, an ambience layer, a string arrangement, a field recording, a baseline, a vocal (Clara Hill on Track 11) or a beat, is meticulously modified and then assigned its place in Bücker's vast but still minimalistic arrangements. Thus, superficially Bücker's pieces seem to radiate a certain mechanical bleakness. However, there is a unique reduced warmth and liveliness emerging from these stainless compositions and transcending them. This transcendence is precisely the point where Bücker ironically looses control over his creations. In contrast to the first two BERSARIN QUARTETT albums, III offers a few darker shades and succeeds even further in narrowing down the arrangements to the absolute essentials without loosing the characteristic grandeur of Bücker's sound. Whereas BERSARIN QUARTETT's debut was merely a description of melancholia in its most pure form, III maybe even goes as far a defining what melancholia really is. It is the only emotion in the vast spectrum of human states of mind which one can bear forever. 

Bersarin Quartett - Jeder Gedanke umsonst gedacht

To watch the video of this live performance, go here: https://www.youtube.com/watch?v=hTbnc9xRWDQ

Lots more of my music here: http://music.lowercasenoises.com
Or, become a subscriber for exclusive music and more cool stuff: https://lowercasenoises.bandcamp.com/subscribe

Here's a really long B major chord for you. It felt nice to play a little, but also to just sit and listen. Hopefully you'll feel ok sitting and listening for a little bit too.

Here's the pedals I used:
Digitech Whammy 5
Walrus Audio Deep Six
EHX Pog 2
Old Blood Noise Procession
Chase Bliss Warped Vinyl
Smallsound Bigsound Mini
Xotic EP Booster
Chase Bliss Gravitas
Earthquaker Devices Disaster Transport SR
Strymon El Capistan
Line 6 Echo Park
Eventide Space
TC Electronic Ditto X4

The guitar is an Ibanez Super 70's Les Paul. Amp is Guitar Rig 5.

Thanks for listening!

http://lowercasenoises.com
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http://facebook.com/lowercasenoises
http://twitter.com/lowercasenoises

Sketch #44 - Drone in B Major (05.05.16)

Order 'Iris' on (Ltd. Clear) Vinyl, CD and digitally here: http://phonofile.link/iris-bonus

A Winged Victory For The Sullen, the otherworldly collaboration between Adam Bryanbaum Wiltzie and Dustin O’Halloran, commence the New Year with their third full-length titled Iris – available worldwide via Erased Tapes on January 13th 2017.

Adam Bryanbaum Wiltzie and Dustin O'Halloran first met the director Jalil Lespert after he had discovered A Winged Victory For The Sullen on a music search online. After listening to their music, he immediately knew: "it was the sound of my new film". With an excellent cast of France’s finest actors Romain Duris, Charlotte Le Bon, and the director himself, plus a script filled with tension, sexuality and darkness, they knew there was a lot of musical territory to mine. It was agreed that they wanted to explore more analogue electronique experiments as well as working with a large string ensemble, to create something that felt very modern and still cinematic.

“Despite A Winged Victory For The Sullen being associated with film score type music, trying to survive the process of creating the modern film score is not for people with fragile egos. It requires those who are the most responsive to change. The director and the film presented a new set of challenges, so we decided to stop thinking about cinema as an object, and moved closer to using the film’s images as triggers for experiences. The more we were able to let go, and see the music as something that happens, like a process – not a quality, the more we were able to reach a place that sounded like us. It was as if we were making our first record all over again, except being filtered through another language littered with dead metaphors”, the duo elaborate.

The recording sessions began with their long time sound collaborator Francesco Donadello in the form of some modular synth sessions in Berlin. Dustin and Adam began working from the script in their own studios, and after filming commenced they continued to create music that could be used for first edits of the film – each day getting new scenes that triggered ideas that would become the base of the film score. Over the course of the next few months the two slowly crafted the music with weekly discussion from their studio to the editing room. The final sessions to what is now the score of Iris were recorded with a 40-piece string orchestra at Magyar Radio in Budapest.

Upon label founder Robert Raths' request the over sixty minutes of material were then edited down to a concise album listen at forty-one minutes with a physical release set for January 13, 2017. The digital bonus track edition includes two solo pieces by Adam Bryanbaum Wiltzie entitled The Endless Battle Of The Maudlin Ballade Part 2 and The Endless Battle Of The Maudlin Ballade Part 3, as well as tracks by Petite Noir, dOP, DJ Pone and The Shoes which feature in the film. The artwork was created by Berlin based illustrator Stephanie F. Scholz who also created the iconic cover for Nils Frahm's Music for The Motion Picture Victoria.

TRACK LISTING

1. Prologue Iris  
2. Retour Au Champs De Mars 
3. Fantasme  
4. Gare Du Nord Part One  
5. L’embauche  
6. Le Retour En Foret  
7. Metro Part Three  
8. Flashback Antoine  
9. Galerie  
10. Le Renversement  
11. Normandie  
12. Comme On A Dit

A Winged Victory For The Sullen - Galerie

"Disquiet" is a benefit compilation of ambient artists, across multiple volumes, with 100% of the proceeds being donated to non-profit organizations that support the environment, investigative journalism, women and minorities. The compilation features many previously unreleased tracks and tracks composed exclusively for the collection. Released soon.

0:00 Balmorhea - Natural World

0:30 Ben Lukas Boysen - Kentograph (Short Version)

0:56 The Album Leaf - AW 11316

1:30 Mint Julep - Longshore Drift

2:00 Eluvium - Windmills

2:34 Windy and Carl - For End of 2016

3:08 Synkro - Transition

3:40 Benoit Pioulard - Home Taping Billowed Edge

4:10 Helios - Within

4:50 Christina Vantzou and John Also Bennett - Chione

5:40 Hammock - In the Shape of Longing

Disquiet Volume 1 Sampler

taken from upcoming DR-49 : Sven Laux - Paper Streets
out on November 3rd, 2017
Pre-order : dronarivm.bandcamp.com

Sven Laux’s “Paper Streets” is a deeply intimate and vulnerable affair. Released on the Russian label Dronarivm, Sven paints minimal landscapes with watercolors in shades of violin, cello & piano; stripped bare & soaked in memory. 

The artist’s works bares a sense of detachment & reflection that usually occurs with the passing of time. Forlorn irony shows itself as it reminds you what feels like to fall in love for the first time, while conjuring ghosts from the last time you shared a gaze. 

A departure from the Sven’s earlier work, “Paper Streets” is an organic, neo-classical journey heard through a cinematic lens. Orchestral notes surge like tides and resonate like heartache. Nostalgia echoes and dissolves with a disarming vulnerability. 

Mastered byTobias Lorsbach

Pre-order CD

TRACK PREMIERE : SVEN LAUX - A Glimpse Of Memory

We are taking preorders for https://soundcloud.com/memum’s second full length album “Confidence”.

Each order comes with an immediate download of the track “Aalto (feat. Erin Lang)” taken from the album.

OUT 08/JUN/2018 || Available as LP/CD/DL

PREORDER:
http://unperceivedrecords.com/memum-confidence-preorder

Stay tuned:
https://www.facebook.com/memummusic/

LP|CD|DL

Memum - Aalto (feat. Erin Lang)

Stream / Download: https://smarturl.it/elskavon-nerves

Nerves / Familiarity is the first official start to Elskavon’s next album era, and it’s a representation not only of composer Chris Bartels’ sound over the years, but also a metaphorical look inside his mind. That is, one of contrast.

With Elskavon’s sound, there’s always been a contrast, and marriage, of grandeur and intimacy. Nerves / Familiarity is no exception.

While it starts out quiet, the listener can immediately feel the enormity of Nerves. The sustained sound is that of Bartels slowly drawing a string of yarn across his old spinet piano’s strings. Only a minute and half in, the sound is thick and full, layered with falsetto vocals fed through modular synthesizers. It hasn’t taken long to be engulfed in the grandeur. 

However, as quickly as it arrives, there’s a departure. An intimate and rhythmic cassette texture, signaled by a slow tonic modulation, foreshadows a look at the second track - the contrast.

Familiarity begins with a bed of introspective notes and textures - mostly that of high piano notes and chopped up Rhodes improvisations. There’s a certain closeness with this sound, and a contrast to the large reverb-soaked fabric that leads Nerves. Then halfway through the song, there is a short build - an encore, if you will, to the grandeur of the first track.

Much like these songs and past Elskavon albums, there is a journey of contrasts with every creative turn for Bartels, finding himself deep in a whirlwind of excitement and fear, anticipation and anxiety, inspiration and frustration. And while being fully aware of the negative sides of that whirlwind, there’s an indescribable beauty and hope in the choice to keep writing, to keep moving. And to not simply run from the negatives, but to allow them to inspire, to motivate.

A creative journey should never be easy or comfortable. If it is, the other side will most certainly be lacking in the beauty and depth it so desires.

With this next album era, Bartels is choosing to embrace the contrast.

www.elskavon.com
www.twitter.com/elskavon
www.facebook.com/elskavon
www.instagram.com/chris_bartels
www.instagram.com/elskavon

Stream/Buy

Familiarity

Blindside is the second track from the new ambient EP 'Fault Lines,' which is set to release on the 24th of October, 2019.

Buy/Stream

Blindside

Helios - Hollie (Rafael Anton Irisarri Remix)

Unperceived Records is an independent boutique label focusing on unexpected, inconspicuous and detailed tones in varied genres such as modern classical, ambient, electro acoustic & more.
We value individuality as well as quality and texture in sound and everything around it. With our „handmade" mindset we strive to make each release a unique experience.

Memum - Aalto (feat. Erin Lang)

Unperceived Records

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