This selection is a palette of natural emotions of person rediscovering himself, wave of sensations and states of spirit in pursuit of individual harmony.

Breathe in

Meditative introduction as a moment of immersion in the environment, followed by concentration of energy on the rhythm of the inner state of harmony and romanticism of the upcoming accomplishments. This seething stream of emotions, reaching fatigue and exhaustion, subsides in the silence of a mysterious dream.

Breathe out

The organ - lungs. 
The color - scorching yellow.
Time - 273rd day of the pandemic.
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Stay tuned @ www.20ftradio.net

Healing Hour w/ Ssscreep @ 20ft Radio - 07/03/2021

"The Days Long" from Duane Pitre's new solo album "Omniscient Voices" - Out Nov 19th, 2021 on IMPREC.

Pre-order available via Imprec.com

Duane Pitre returns to Imprec with Omniscient Voices, an articulate, intense and emotionally resonant set of five pieces for justly tuned piano and electronics.

Omniscient Voices is a uniquely distinct work that follows Pitre's trilogy of releases which culminated with 2015’s Bayou Electric and included the critically acclaimed Feel Free (2012) and Bridges (2013) albums. Where those albums were rooted in long form pieces, Omniscient Voices is a collection of shorter pieces, offering more harmonic variety than previous works, with a unique sound and feel that is still unmistakably the work of Duane Pitre.

In 2019, after a five year period where Pitre did not focus on outward facing music, but instead on his own personal practice, a small idea in the form of a question came to him: would the combination of his latest computer- and electronic-based experiments, used in conjunction with justly tuned piano, produce interesting results; simply put, would it “work”? Concurrently, Pitre was studying a handful of Morton Feldman scores for their focus on tonal clusters, reading a book on Arvo Pärt’s life and work, and contemplating the pulse-based rhythms of Steve Reich and Phillip Glass.

In 2020, with no intention of making a new album, the composer tried to answer this question. The results would spawn five pieces that would become Omniscient Voices. On this new work, Pitre finds himself giving equal priority to both piano and electronics, utilizing his Max/MSP-based generative network to real-time convert precomposed piano motifs, into data, which is then used to communicate with two polyphonic, microtonal hardware synthesizers whose patches Pitre authored; this process generates the electronic component of the album. Pitre also utilizes controlled improvisation to interact with the piano-reactive electronics in a spontaneous and inspired manner, going back and forth between these two pianistic approaches. In all, this approach creates a “musical feedback loop” of sorts.

Despite Omniscient Voices being the culmination of 15 years of hard work and inspiration, this beautiful album somehow materialized in a natural, intuitive and effortless way (like any artist's best work.)

Mastered and cut by Golden and pressed at RTI for maximum fidelity.

Artist's statement:
“When making the pieces that would become Omniscient Voices, I often viewed the piano as human action, a single note becoming a single gesture that has the potential to change the electronic environment, the electronics becoming the environment surrounding that human in the natural world, who then has the power to change their actions based on their surroundings. All actions have consequences. The interconnectedness of everything. Single actions making waves of change.”

RIYL: Arvo Pärt, Morton Feldman, Steve Reich, Phillip Glass

Duane Pitre - The Days Long - from Omniscient Voices - Pre-Order Available

The Way Through is a meditative journey across four ambient soundscapes. Field recordings captured in moments of transition are transformed through granular processing and evolving synthesis, creating spaces where the organic and electronic converge. From the textures of movement and travel in On the Path to the contemplative low frequency tones of Dusk, each track explores the territories between waking and dreaming, earth and sky.

Under Earth

Tanto  Que Tu

Li Po Poem

A meditative and immersive soundscape that brings the ancient Chinese poetry of the Tang Dynasty poet Li Po to life. This track is a musical journey, a reflection on the transience of life and the deep connection with nature.

Allow yourself to be carried away by the ambient textures and experimental sonic elements that build a bridge between the East and modern sound design. Perfect for reflection, focus, or simply escaping the everyday.

Li Po Poem

Artist: Andrew Pekler
Album: Tristes Tropiques
Format: LP/DL
Label#: Faitiche14
Release date: November 11th

Faitiche welcomes back an old friend: Andrew Pekler was the musical director of the 2011 album Ursula Bogner – Sonne=Blackbox (faitiche05 lp/cd/book). Known for his albums on Senufo Editions, Entr’acte, Dekorder, Kranky and other labels, Andrew Pekler’s new work Tristes Tropiques is now released by Faitiche. Tristes Tropiques is an album of synthetic exotica, pseudo-ethnographic music and unreal field recordings.  

Find out more about Andrew Pekler’s Tristes Tropiques in the following interview:

Jan Jelinek: You’ve titled your album Tristes Tropiques – a reference to Claude Lévi-Strauss’ famous account of his travels among native peoples in the Mato Grosso. If I remember correctly, the book can be read in two ways: as an ethnographic study of indigenous Brazilian tribes, and as a critique of anthropological methods. What exactly about Tristes Tropiques inspired you? The melancholy travelogue, or the formation of a new, critical school of thought?

Andrew Pekler: Both. Lévi-Strauss’ constant reflection on the purpose of his work and the often melancholy tone of his writing constitute an internal tension which runs throughout the whole book. Tristes Tropiques is many things; autobiography, traveler’s tale, ethnographic report, philosophical treatise, colonial history. But ultimately, it’s the author’s attempt to synthesize meaning from fragments of his own and other cultures that resonated most strongly with me – and led me to a new perspective on how I hear and make music. 

JJ: Listening to Tristes Tropiques I noticed a certain oscillation between references, which is what I really like about it. Obviously, your music alludes to the beloved fairytale kitsch of exotica, but it also repeatedly shifts to a mode of ethno-poetic meditation music that seems to have no beginning or end. Where do you yourself locate the tracks gathered here? 

AP: As a listener and as a musician, exotica music of the 1950s and 60s has always been a constant reference point and inspiration. And perhaps my listening has been ‘ruined’ by exotica, but as I have dug deeper into ethnographic archives of ‘traditional’ music, I’ve come to the realization that all recordings that evoke, allude to, or ostensibly document other musical forms have a similar effect on my imagination: I am most intrigued when I perceive some coincidentally familiar element within the foreign (a tuned percussion recital from Malawi that immediately brings to mind Steve Reichian minimalism, or the Burundian female vocal duet that sounds uncannily like a cut-up tape experiment, etc.). I suppose this album is an attempt to recreate the same kind of listening experience as what I’ve described, just with the electronic means that I have at hand. 

JJ: I know that you perform Tristes Tropiques not only as music, and that there is visual and spatial aspect to the presentation. Can you reveal more about this?

AP: I made an accompanying video – mainly close-up footage, shot in Thailand, of various tropical flora. The video was recorded at very slow speed and this gives the plants, flowers, trees, bamboo, etc. the appearance of rather abstract objects. In live performance, this abstracting effect is further emphasized through real-time modulation of the colors, brightness and other parameters of the video image. There is also an installation version of the video that is meant to be projected on multiple screens / walls and with its own soundtrack of heavily manipulated field recordings captured in the same locations in the jungle.  

JJ: We can get an idea of what this looks like from the beautiful video stills on the back cover of the album.

Andrew Pekler: Theme From Tristes Tropiques / Avian Modulations / Life In The Canopy

Cucina Povera: Kuparirumpu

Excerpts, fragments, edits and combinations of: 

Ströer Duo - Vietnam  
Jonathan William Scherk - Oh Softer
 Naná Vasconcelos - Dado 
Karlheinz Stockhausen - Studie II 
Kiyoshi Mizutani - Watering Place Under Kannogawa-Nokkoshi 
Savant - Heart of Stillness 
Matsuo Ohno - 映画｢惑星大戦争｣電子音響 
でいご娘 - クーダーカ
Knud Victor - Images 1 
Roberto Musci - Claudia, Wilhelm R. and Me 
Yasuaki Shimizu - Seiko 2 
Joel Chabade - Yum Yum 
Daniel Lentz - You Can't See the Forest 
Tomoko Sauvage - Jalatarangam Revisited
 Iannis Xenakis - Orient-Occident 
People of the Ituri Forest - Elephant Hunting Song 
Benjamin Lew / Steven Brown - Bamako Ou Ailleurs 
Michel Redolfi - Death Valley 
Martin Neukom - 18.5 
José Pivin ‎– Opéra Du Cameroun 
Andrew Pekler - Fonseca Winds (Lament)
Marion Brown - Afternoon of a Georgia Fawn 
François Bayle - Toupie Dans Le Ciel 
Duke Ellington, Max Roach & Charles Mingus - Le Fleurs Africaines

Originally broadcast on http://lyl.live/show/les-statues-meurent-aussi/

Juxtapositions

We release Phil Strucks album NNO on February 23.

Phil is a experimental recording artist, who also works as a photographer, documenting the contemporary, experimental electronic music scene and life around it. His music is based on sampling from odd sound sources, random data streams and the usage of microphones and various synthesizer. Phil ennobles the trivial, honors the silence and creates an experimental collection of raw textural ambiance. It could’ve been a matter of trompe-l’oeil, a mere juxtaposition of audio signs to mimic functionality, but there’s a much more vibrant and fluid quality to his mind-expanding pieces. He is living in Hamburg, Germany.

Text: Baptiste Girou (Inverted Audio)

Phil Struck - Brook

https://radio.syg.ma/episodes/guests-07-ol
@olegbuyanov

GUESTS 07 - OL

Schleswig-Holstein is a thin land bridge between the mighty hull of the North German lowlands and the long pointed head of the Jutland peninsula, with the gentle Baltic Sea on one side, and the rough North Sea on the other. Numerous lakes, deciduous forests and wide corridors have shaped this region since its formation during the last ice age. The varied landscape, covered with fertile clay and littered with countless large and small granite blocks, is the legacy of the glaciers.

Fascinated by the cultural and geographical history of his homeland, Phil Struck recorded sonic impressions after hikes, wanderings, daydreams, historical readings and childhood memories. Schleswig-Holstein Aufnahmen is the distillation of these diaristic recordings, made between 2017 and 2019, using a sampler, synthesizer, and worn flea market records. Much like the cyclical musings of W.G. Sebald, or Cluster’s pastoral electronic miniatures, these works are intrinsically tied to the landscape of which they were born. The wobble and crackle of the samples is evocative of the craggy scenery of the lowlands, and also describes the patinated atmosphere of memory, found in the work of Vladislav Delay, Pole, Caretaker, Philip Jeck, Ken Jacobs, and Bill Morrison. The painting adorning the album cover was done by Struck’s great grandfather who was also seduced by this meandering windswept land.

Limited edition of 100 LPs with risograph printed artwork.

Tracklist:

A1 Horizonte (Intro) (2:12)
A2 Baizubai (5:41)
A3 Speckenbeck (2:05)
A4 Grube (7:00)
A5 Feuermachen (2:52)
A6 Weiher (3:30)

B1 Sommertage (6:45)
B2 Wogen (11:24)
B3 Jens (3:49)

Buy Limited Edition LP: www.seance-centre.com/shop/phil-stru…tein-aufnahmen

Buy Digital: philstruck.bandcamp.com/album/schlesw…ein-aufnahmen

Phil Struck -  Sommertage (21SC)

Factish (french / german faitiche) "(...) is a combination of facts and fetishes, and makes it obvious that the two have a common element of fabrication." Bruno Latour, 1999.

Faitiche is a label by Jan Jelinek.