DAVID GRANSTRÖM, Empty Room - LP

Release date - April 2th 2021
Catalogue nr. - HG2102
Format - Vinyl / digital
Hallow Ground

hallowground.bandcamp.com

Tracklist:
1) Obsidian 09:22
2) Aeon 10:56
3) Sapphire Visions 04:50
4) Occultations 10:08
5) Transience 04:45

Credits:
All tracks composed, recorded, performed and mixed by David Granström 
Mastered by Giuseppe Ielasi
Photography by Aron Mattsson
Cover design by Greenpointless

///
On »Empty Room,« David Granström works with slow transformations, cyclical and isometric patterns as well as just intonation as a way to create harmonic stability, allowing his long-form pieces to develop their own unique temporal and spatial qualities. A prolific figure in Stockholm’s experimental drone scene and a collaborator of Hallow Ground label mates Maria W Horn and Mats Erlandsson, the Swedish composer navigates through moments of quietude and crushing volume on these five tracks. Sonically and atmospherically, the pieces on »Empty Room« simultaneously call to mind Fennesz’s most meditative work or the physical experience of seeing Sunn O))) live, blending guitar recordings and synthesised sounds with forceful effects similar to those of Mario Díaz de Leon’s Oneirogen project while still being as moving and delicate as Alessandro Cortini’s solo work. The album is marked by melodies and harmonies that are the product of a peculiar working process that turned the composer into an intent listener collaborating with, rather than simply using technology. 

Having been invited by the self-organising artist group The Non Existent Center for a residency to Ställbergs Gruva, a defunct iron ore mine in Sweden’s Bergslagen region, Granström took his guitar as a starting point for his compositional work that heavily relies on real-time sound synthesis. »I seldomly use the instrument as a sound source in the final compositions and rather transcribe and orchestrate the harmonic structures using sound synthesis,« he explains. »On this album however, I chose to include the actual recordings of the guitar in order to extend the spectra between non-referential synthetic sounds and embodied referential sounds.« Working with precise tunings in order to blend the timbre of the synthesis with the harmonic structures of the composition, he created composite sound objects in which the harmonic elements blend into each other. 

Through the re-amplification of synthetic musical materials from the inside of the abandoned mine, his original compositions were enriched with site-specific sound qualities before he further refined them in a singular working process. Granström works with algorithmic and generative processes, using the SuperCollider programming environment and thus blurring the lines between generative and creative forms of composition. »One of the things that I like about this way of working is that it creates a distance between myself as a composer and myself as a listener of the music that is produced entirely by the system,« he says. Granström’s technologically aided eschewing of the conventions of composing doesn’t make the end result any less personal, however. By listening again and again to the newly generated output, Granström simply took on a different role in the process of finalising the music, with the technology and the sounds becoming his co-authors. 

By creating systems that generate music, he gains a new perspective on (musical) time, says Granström. »There doesn't have to be a fixed length to the music at all,« he explains. »And by writing music with this in mind, my focus tends to shift towards writing cyclical structures that gradually change and transform over time.« Simple parts, in other words, that emerge as the five complex wholes that form »Empty Room,« a record that itself seems to take on different forms with every new listen.

DAVID GRANSTRÖM - Occultations (HG2102)

Neil Luck
Downturn Fantasies
CD (E255)

Limited edition of 150 copies
Release date: August 2021
https://entracte.co.uk/projects/Neil-Luck-E255

An abandoned title for this album — Under Eye Finger Pressure —
could be a tentative instruction to the listener. Closing your eyes,
then gently pressing the base of your eyeballs through your eyelids
is a good, slightly painful way of generating accompanying visual
phenomena. Direct from the lobes, unmediated colours and shapes
that ease passage into a less concrete way of meeting the world.

Downturn Fantasies

Neil Luck (E255; 2021)

release on 11 March 2022
Dimer are :
Fabian Adams: @fabian-adams-968514271 // Jan-Einar Groh : @mopped

The Leipzig duo Dimer is composed of Fabian Adams on saxophone and Jan-Einar Groh on drums. On this album, each track is built from succinct elements. Whether it is melody, timbre or rhythm, each one is introduced with care and then blossoms in the long run.

Dimer - Setting 2_1

Released on May 1st 2022!

Egil Kalman is a Swedish musician/composer primarily playing modular synthesizer and double bass. ”Kingdom of Bells Egil Kalman plays the Synthi 100” is his debut record as a solo artist. 

The record was made during a residency at the Contemporary Music Research Center (KSYME) in Athens in 2019. All the tracks were captured straight from the Synthi 100 as stereo recordings and contain no overdubs. The music showcases both the powerful and raw sound of this rare instrument as well as Kalman’s expansive interests as a musician and composer.  

Mind altering just tuned drones with melodies that echoes traditional Scandinavian folk music flow into abstract soundscapes reminiscent of early electronic music pioneers, but still holds a fresh sound and vibe. Deep synth music from the North! 

Egil Kalman’s playing as a syntheist and double bass player can previously be heard in duos with Zoi Efstathiou and Fredrik Rasten as well as in groups such as Miman, Marthe Lea Band and Alasdair Roberts & Völvur.  

His music aims to dissolve the brittle barriers separating traditional Scandinavian folk- and contemporary electroacoustic music via minimalist compositional techniques and soulful improvisations. Utilizing just intonation tunings, hypnotic forms, synthesized sound mimicking the acoustic and vice versa, his music explores qualities intrinsic to traditional Scandinavian folk music in ways where the musical foundation is felt rather than explicitly heard. Kalman can previously be heard in duos with Zoi Efstathiou and Fredrik Rasten as well as in groups such as Miman, Marthe Lea Band and Alasdair Roberts & Völvur.  

The record was mastered by Rashad Becker and the artwork is made by Allon Kaye.

EGIL KALMAN - CLOUDLESS DAYBREAK (from iDEAL213 LP)

Cloistered Anatomy - Part IV

EDA BROWN_GHOST ISLAND(EARLY WORKS  2017-2018)

Drive my car

Mascara Snake
Mountain Diary
Sloow Tapes - CS 25

Not to be confused with the sometimes Captain Beefheart clarinetist of the same name, this particular Mascara Snake makes instrumental and atmospheric sound collages, influenced especially by Moondog, Penguin Cafe Orchestra and Luc Ferrari. As the snake sheds its skin Pacôme Genty reveals himself, who you might remember from the just as enigmatic La Non-pareille  lp he released last year with his duo Des édens (together with Antoine Cortes). Edition of 60 copies.

Mascara Snake

Massimo Carozzi is a sound recordist, sound designer and musician based in Bologna, Italy. Since 1994 he has looked into relations between sound and image, sound and script, sound and literature, sound and space. Massimo Carozzi has created sound design for theatre, documentaries, short films, installations. As a musician he collaborated both in studio and on stage with various musicians and sound artists such as Andrea Belfi, Stefano Pilia, Margareth Kammerer, Valerio Tricoli, Claudio Rocchetti, Starfuckers and many others. In September 2000 he founded the group ZimmerFrei whose artistic practice ranges from video art to documentary films, sound and environmental installations, as well as photography, performances, workshops and public art projects. 
Mastered by Giuseppe Ielasi.

Massimo Carozzi - Echelon

The second movement of Morton Feldman's music for the film ‘Sculpture by Lipton’ , a documentary from 1954 about the work of the sculptor Seymour Lipton to which Feldman wrote the music. The original score has not survived, but the piece was transcribed from the soundtrack by Philip Thomas, who performs it on his 5-CD box set of Feldman's piano music, which will be released in September 2019.

Morton Feldman - Lipton Piece #2, played by Philip Thomas

On 18th of February 2012 Kaiku met at the Hailuoto moose hunters hut called koppakota. 11 adults sitting around a fire. We went to listen a quite strong wind outside in total silence and then imitated the heard.

More: http://haiart.net/read.php?id=7117701
Contact: kaiku@poemproducer.com


Wind & Fire (Koppakota, moose hunters hut)

cassette label . . . all kinds of music . . .
transient creations looking for balance in uncommon spaces.
demos welcome : wabisabi(dot)tapes(at)gmail(dot)com

artworks : 
Yann Rambaud (WBSB001 > WBSB008)
Coline Llobet (WBSB009 > WBSB014)
Mona Chancogne (WBSB015>WBSB020)
mastering : Adrien Lambert

Dimer - Setting 2_1

wabi-sabi tapes

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