Excerpts from 'Four Workings', an album by Richard Skelton, released 10th June, 2021.

Richard Skelton - Four Workings (Excerpts)

Excerpts from the album 'The Wilderness of Forms', released in November 2021 by Corbel Stone Press

The Wilderness of Forms - Richard Skelton (excerpts)

Excerpts from 'For Olomouc' by Richard Skelton, a Subscriber-only Bandcamp exclusive:

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For Olomouc (Excerpt) by Richard Skelton

To cut a the inspiration short, it's 2020-2021. A time that could only be represented as something ugly for so many reasons.
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I stare out over the desolate wastes, husks of what once were buildings, metropolis's, homes, lives. There's static in the air, all around me. Sirens in the distance as they patrol the remnants of whatever was here before, whatever was here before I was. They're all that's left, monochromatic abberations that whisper through the unending dusk, outside or inside my head, the sounds never cease.

I sent something before, perhaps it was lost in transit - I've fashioned this device, wires and circuitry that barely resemble anything coherent. A machination of madness, but perhaps you will hear it. If it does, they're tr--..ns00fs88f9a-----f-a------..--...... Is it still on? Sirens are coming closer. I need to leave befo00fa===-3llf-----f---f--a---f---f---f///. Ending the message, they can't have this machine, in case they manage to ge--g-a---s---s-f--f-...

You need to stop now. Why are you still listening? Are you still listening? Were you ever?

/play_msg2

/access

/install

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They Mounted Crosses at the Edge of Terminal Moraines (Excerpt)

‘Plateau’ is a auditory time-lapse history of Scotland’s Cairngorm high plateau. It is composed of four sections corresponding to the fluctuations of cold (Stadial) and warmer (Interstadial) climatic conditions: 

(1) The Last Glacial Maximum / (Late) Dimlington Stadial (27,000 to 16,000 BP)
(2) The Late-Glacial Interstadial (c.14,670 to 12,900 BP)
(3) The Loch Lomond Stadial (12,900 to 11,700 BP) 
(4) The early Holocene (11,700 to c.9,000 BP)

‘Plateau’ is part of ‘Looking Up’, a research project focusing on the post-glacial landscape, archaeology and heritage of the Scottish Uplands, led by Sam Kelley (University College of Dublin, School of Earth Sciences), Graeme Warren (University College Dublin, School of Archaeology) and Alice Doughty (University of Maine, School of Earth and Climate Sciences). 

The technique used to determine the timing of deglaciation on the high plateau involved project scientists collecting samples of rock containing quartz grains — a common mineral that is resistant to weathering. The rock samples were crushed, pulverised, sieved and sorted, before being subject to magnetic and mineral separation in order to isolate the quartz grains which contain ‘cosmogenic nuclides’ from the other minerals that make up the rock. In turn, these nuclides provided a direct means of timing their prehistoric exposure to cosmic radiation as the overlying cover of ice finally melted. In total, these samples give us a picture in space and time of the former glaciers in the Cairngorms in the face of warming post-glacial climate.

This process of sample collection and analysis directly informed the composition of ‘Plateau’. Stones from the locality were collected and their surface interactions recorded at high frequency sample rates. The resulting waveforms were then subjected to granular analysis, so that ‘single-cycle waveforms’ displaying tonal characteristics could be isolated and extracted. These grains of sound became the foundation of the musical composition.

https://www.ucd.ie/archaeology/research/lookingup/

‘Looking Up: the future of early prehistoric heritage in Europe’s mountains’ is funded by the Irish Research Council’s COALESCE programme 2021–2023 (IRC COALESCE/2021/78) and is coordinated by University College Dublin’s School of Archaeology and School of Earth Sciences, with partners in University of Maine, Purdue University (both USA) and Aberdeenshire County Council.

https://www.richardskelton.net/land-music/plateau

Plateau

The Inward Circles - Before We Lie Down in Darknesse (Preview)

Something different. 
Yeah the bass is mixed way to the right and I didn't bother with an intro but I don't actually care.

_oracle_tapes-pulsar_remix_002

in recent years, the turkish drone-pop composer ekin fil (born ekin üzeltüzenci) has been refining her talents in the realm of the film score. since her first recordings that were published by root strata and students of decay, she has always exhibited a preternatural ability to express the saddest of emotions through sound. once channeled through the lens of a gauzy shoegazing smear of guitars and voice, she has peeling away layers of her ephemeral songs to reveal their emotional core. that compositional process that works so well for her award winning film scores informs the soft-focus tenebrous pieces of her 2020 album coda. 

it’s true that any number of these pieces on this album could announce the finale to an emotionally draining movie, but ekin sculpts the entire album as a whole, dissolving one perfectly tempered piano motif, an impressionist ambient plume or a sibilant vocal melody into another. just at the threshold of perception, she occasionally invokes cascades of distant noise that easily can be interpreted as the ominous premonitions for natural disasters - incoming storms, earthquakes, or tidal waves. this subtle disquiet amidst the introspective melancholy furthers the emotional weightiness of coda.

her somber, blissful compositions have considerable gravity of their own in the constellation of grouper, felicia atkinson, and harold budd.

Coda

Ekin Fil // On Sand

Individual tracks, experiments and gag bits are uploaded here until they are compiled into an album and published on https://oeltahnbahn.bandcamp.com/

_oracle_tapes-pulsar_remix_002

oeltahn bahn

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