June 2017

track 'Boogie Beams' taken from mini-album by Ilan Volkov and Ohad Fishof published in CDr red series. 

Ilan Volkov — conductor and musician. Served as principal conductor of the Scottish BBC Orchestra and the Iceland Symphony Orchestra. Founder and artistic director of the Tectonics Festival, a world-renowned platform for new and experimental music that takes place every year in Glasgow, Athens and Tel Aviv and has previously also taken place in Reykjavik, New York and Melbourne.

Ohad Fishof – An artist who works in the fields of sound, dance, performance and visual art. Began his artistic path in the 1980s with the band נושאי המגבעת and has since developed a unique body of work of time-based idiosyncratic art, in a sequence that includes stabilizers, musical works, video works, place-dependent performances and dance works.

Recorded by Daniel Meir at Levontin 7, December 2020. Mastered by Jacques Beloeil.

Ohad Fishof/Ilan Volkov (Duo):
http://www.tzlilmeudcanfestival.com/about-fishof-volkov/


available for order from stellage.store

Boogie Beams

Ilan Volkov and Ohad Fishof — Boogie Beams (Stellage, 2021)

excerpt from a long-form guitar + tape loop improvisation.
more information at: http://dustbreeding.com/466-fog

466 / driving over bridges through fog

Nereo

'Echoes of Home' out now: https://enormoustunes.lnk.to/echoesofhome
Learn more: https://www.mamanofficial.com/

Follow MaMan:
Instagram: https://www.instagram.com/musicmaman/
Facebook: https://www.facebook.com/musicmaman/
Apple Music: https://music.apple.com/nl/artist/maman/1445337969
YouTube: https://www.youtube.com/@mamanofficial
Spotify: https://open.spotify.com/artist/6L2sfTMVTGoOXVWB51Yi6f?si=hYkTKPMrR6WlGVlbMVwkTQ
Bandcamp: https://mamanofficial.bandcamp.com/
Bandsintown: https://www.bandsintown.com/a/15596482

Interlude: Waves

Music Box

pink polygons

Buried deep beneath the castle was their only way out of the maze. Outside they could hear the tropical birds of the wilderness calling them, but they had yet to determine a way to break free to the jungle. The escape hatch would provide their only means of access to the greenery of the forest floor and the place of paradise. 

Seahawks are pretty freakin' balearic. I mean, their name is balearic, they sound balearic and the music they make is sure as hell balearic. Lush, peaceful and warm, their new release on Ocean Moon leaves us longing for sunnier climates.

Escape Hatch

PREMIERE: Seahawks - Escape Hatch [Ocean Moon]

Last Days - Whitecaps

Ideas Of Beginnings

Mark McGuire- Beginning Of Winter

Taken from 'Horizon' by Christopher Willits, out May 19, 2017.

Order Links:
The Ghostly Store: goo.gl/iD00zE
Retailer of your choice: Ghostly.lnk.to/horizon

Horizon

Christopher Willts - Waipio

Unreleased demo track from Headpocket

@headpocket
https://www.mixcloud.com/headpocket/

Buy now https://dreamchimney.bandcamp.com/releases

DC Demo Tracks #6: Headpocket "Wobbly Tin Reborn"

A track from the album 'Terra Nova' out 10/03/17 on Constellation Tatsu.
FALL BATCH 2017

Angel 1 - Karaoke

From the album Anne.  Available November 16, 2018 from Western Vinyl.

Bandcamp https://josephshabason.bandcamp.com/album/anne
iTunes https://itunes.apple.com/us/album/anne/1427808233?ls=1&app=itunes
Spotify https://open.spotify.com/album/19FD6RN5K3xYFThAHM4fGy?si=0hUO0rFVQAigvSPTvJL_4w
WV http://westernvinyl.com/shop/wv182

Joseph Shabason
Twitter https://twitter.com/JosephShabason
Instagram https://www.instagram.com/josephshabason/
Facebook https://www.facebook.com/josephshabason

Anne, the second album By Toronto saxophonist and composer Joseph Shabason, is a tonal essay on degenerative illness. Delicately and compassionately woven with interviews of Shabason’s mother from whom the album takes its name, Anne finds its creator navigating a labyrinth of subtle and tragic emotions arising from his mother's struggle with Parkinson’s disease. Across the nine vivid postcards of jazz-laden ambience that comprise the album, Shabason unwraps these difficult themes with great care and focus revealing the unseen aspects of degenerative diseases that force us to re-examine common notions of self, identity, and mortality. 

Shabason’s uncanny ability to manoeuvre through such microscopic feelings is mirrored by his capacity to execute a similar tightrope-walk through musical genres. His music occupies a specific space that is as palpable as it is difficult to pin labels to. On Anne’s second track “Deep Dark Divide” rays of effected saxophone shine behind clouds of digital synthesizer that echoes the sound of jazz in the late 80s, but with a Jon Hassell-esque depth of sensibility that consciously subverts the stylistic inoffensiveness of that era. There is detail and idiosyncrasy beneath Shabason’s dawn-of-the-CD-era sheen that elevates the album far beyond a mere aesthetic exercise.

Still, the sounds on Anne are not so experimentally opaque as to stand in the way of the album’s through-line of sincerity and emotionality. When dissonance is employed it is punctual and meaningful, like on album-middler “Fred and Lil” where a six-minute cascade of breathy textures builds suddenly to an agitated growl, only to abruptly give way to Anne Shabason speaking intimately about her relationship to her own parents. Snippets of such conversations see her taking on something like a narrator role across Anne while the sound of her voice itself is sometimes effected to become a musical texture entwined into the fabric of the songs without always being present or audible.  The subsequent piece “Toh Koh” then drifts into playful disorientation as a lone female voice echoes the two syllables of the title, recalling the vocal techniques of composer Joan La Barbara, or even the light-hearted mantras of Lucky Dragons. From here the album veers back onto its aesthetic thoroughfare with “November” where Shabason lays muted brass textures atop a wavepool of electric chords provided by none other than the ambient cult-hero Gigi Masin, one of Anne’s many integral collaborators.

The serene tragedy of the album distils itself gracefully into the ironically titled album closer “Treat it Like a Wine Bar” wherein flutters of piano and mournfully whispered woodwinds seem to evaporate particle by delicate particle, leaving the listener with a faint emotional afterglow like a dream upon waking. There is a corollary to be drawn here with what it must be like to feel one’s own mind and body drift away slowly until nothing remains, while the collection of memories and abilities that we use to denote the “self” softens into eternity. On Anne, it is precisely this fragile exchange of tranquillity and anguish that Joseph Shabason has proven his singular ability to articulate.

Anne

Joseph Shabason - "Fred and Lil"

A Warmer Welcome// a digital benefit in support of syrian refugee welfare // 110 Tracks // DL - 2016
https://www.discogs.com/Various-A-Warmer-Welcome/release/8140284

:Zoviet*France: - The White Sea

"Drone Works Vol. 3 - A Compilation Of Contemporary Drone And Ambient Sounds" celebrates the third year of DRONE WORKS INTERNATIONAL with 15 amazing artists from all across the world, combining about hundred minutes of complex sound experience.

DWI likes to thank all artists involved. More information about each artist at each track. Please support them and check out their music.

Tracklist:
01. Vinny Vortex - Off The Radar
02. Velo Di Nebbia – Luminoso (Rework)
03. Lofield - Another Tomorrow
04. Logic Moon – Dolor
05. Deep Tremolo Sustain - Off Shore
06. 9VoltDisaster - Footprint
07. Phalioo - On A Dirt Road Guided By A Flashlight
08. Kraut Sounds - In Transition
09. Whalt Thisney - Nothing Alone Is Greater Than Itself
10. Jörgen Kjellgren - Warm Luminous 1
11. Mila Drone - North Beach
12. Polaroid Notes - Dissolve (Drone Rework)
13. Carbonates On Mars - Propranolol Nights
14. Tom Cadillac - Gully Ghosts
15. D.Y.H.M? - Rabbit In The Headlights

Download @ https://droneworksinternational.bandcamp.com/album/v-a-drone-works-vol-3

Release Date: 26th December 2019
Drone Works International DWI 21

Bandcamp

V.A. - Snippets Of Drone Works Vol. 3 (DWI 21)

Dutch composer Rutger Hoedemaekers makes his debut solo release with a stunning album that marks the culmination of a decade spent in the hyper-creative studio environment he co-founded in Berlin, including four years working closely alongside Jóhann Jóhannsson. Sonically rich, emotionally deep, and immaculately handled, 'The Age Of Oddities’ showcases a brilliant new talent, its cinematic eloquence bearing witness to Rutger’s experiences composing for film alongside Oscar-winner Hildur Guðnadóttir and Jóhannsson, for whom the album is partly a eulogy.

Whilst paying homage to Jóhannsson, ‘The Age Of Oddities’ sees Hoedemaekers forging his own sound and vision. It’s a bold and forward-thinking record, with a rich, hybrid sound seeing vocals processed and blurred alongside brass parts and a wall of strings shadowed by Rutger’s understated, textural electronics. Beautifully scored, immaculately performed and recorded, the album utilises the power of Budapest Art Orchestra’s 23-piece string ensemble conducted and co-orchestrated by Viktor Orri Árnason, alongside vocals (Kira Kira, Theatre of Voices’ Else Torp and Laura Jansen), horn (Morris Kliphuis), trombone (Hilary Jeffery) and violin (Una Sveinbjarnardóttir and Viktor Orri Árnason), with Hoedemaekers contributing trumpet, piano, keyboard and electronics.

Born out of a shared creative environment during a time of personal as well as social change, ‘The Age Of Oddities’ is a powerful and emotive work that closes a deeply productive yet also dark and heavy period for its creator.  It sees Hoedemaekers finally stepping out into the spotlight after many years working behind the scenes, revealing a hugely talented new composer who is surely one to watch in coming years.

Mark McGuire- Beginning Of Winter

VDSQ

Recent comments

thatchspace

Related tracks