Toru Takemitsu - Rain Tree Sketch II

Klastós (Rework Edition)
by Ginevra Nervi

1. Changing (Chevel rework) 02:25
2. Annihilation (Alev Lenz rework) 03:19
3. Gaslighting (Midori Hirano rework) 04:15
4. Dune (Lara Sarkissian rework) 05:00

KLASTÓS - REWORK EDITION
During this very particular year, Ginevra Nervi understood that one of the most important things to her and to her creative process is creating special connections with other artists from all over the world, and Klastós talks exactly about the connection between everyone and everything. 
The pandemic demonstrated perfectly, more than ever, how humans need to be connected to each other, how humans are not able to stay alone for long times and how this makes us vulnerable. We need to communicate and always interact with something new and different from our personal perspectives of things. 
In this “rework project” I see exactly what the concept represents. 

THE REWORKERS
Chevel said that reworking Ginevra's music came out quite fast and instinctive. He created a strong contrast between her vocal tones and his cold, synthetic and glossy sounds. It's something he always looks for when he produces, giving a contrast of feelings, whether it is with opposite layers or some kind of questions and answers between elements and melodies.

CREDITS

Changing rework : produced by Dario Tronchin, mix and master by Maurizio Borgna

Annihilation rework : produced by Alev Lenz, mix and master by Maurizio Borgna

Gaslighting rework : produced and mixed by Midori Hirano, master by Maurizio Borgna

Dune rework: produced and mixed by Lara Sarkissian, master by Maurizio Borgna

all rights reserved

Gaslighting (Midori Hirano rework)

Trying out a glittery new patch I made on my trusty 1989 Waldorf microWave Rev.B in the studio.  The Microwave is sounding great through the stereo twin-Gibbs spring reverb I recently made using a old TEAC RA-41 1/4" tape preamp modified to run as a standalone recovery amplifier - the result is delightfully smooth and dark.

Composition & Recording Copyright D.A.Wilson, Hideaway Studio 2021

1989 Waldorf microWave I: All That Glitters...

Harold Budd The White Arcades The Kiss

Ethan Haman is a classical organist known for his mesmerizing improvisations. While completing his MFA at Yale, he recorded this performance on The Newberry Memorial Organ, among the world’s largest, most revered symphonic organs. In “Ending,” undulating woodwinds repeat simple phrases, evoking questions and fears surrounding existence and mortality. Haman’s performance serves this introspective composition from Eder’s forthcoming album, “Therapy.”

Therapy

03_Ending (feat. Ethan Haman)

Arabesque 2

~ IIKKI 002 ~

artist : andrea belfi 
album : alveare
duration : 34.26 mn
date : 17.01.17 
edition : vinyl, limited to 500 copies + fine art book, limited to 500 copies

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pre-order : January 03th / official release : January 17th, 2017

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all tracks played and composed by Andrea Belfi on drums, percussion and synthesizer.
Audrey Chen: cello on "grigio"
Attila Faravelli: rotating speakers on "abito"

mastering by Giuseppe Ielasi in September 2016
artwork by Matthias Heiderich
design : Sprflxgrfzm

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Links :

Andrea Belfi : 
http://www.andreabelfi.com
Matthias Heiderich : 
http://www.matthias-heiderich.de
IIKKI :
http://www.iikki-books.com
https://iikki.bandcamp.com
https://www.facebook.com/iikki.books

Andrea Belfi - Alveare (album preview)

Despite his status as a key figure in the history of Japanese ambient music, Hiroshi Yoshimura's music remains tragically under-known outside of his home country. Empire of Signs – a new imprint co-helmed by Maxwell August Croy and Spencer Doran – is proud to reissue Yoshimura's debut Music for Nine Postcards for the first time outside Japan in collaboration with Hiroshi's widow Yoko Yoshimura, with more fully licensed reissues of Hiroshi's work to follow in the future.

Working initially as a conceptual artist, the musical side of Yoshimura's artistic practice came to prominence in the post-Fluxus scene of late 1970s Tokyo alongside Akio Suzuki and Takehisa Kosugi, taking many subsequent turns within Japan’s bubble economy afterward. His sound works took on many forms - commissioned fashion runway scores, soundtracking perfume, soundscapes for pre-fab houses, train station sound design - all existing not as side work but as logical extensions of his philosophy of sound. His work strived for serenity as an ideal, and this approach can be felt strongly on Music for Nine Postcards.

Home recorded on a minimal setup of keyboard and Fender Rhodes, Music for Nine Postcards was Yoshimura’s first concrete collection of music, initially a demo recording given to the Hara Museum of Contemporary Art to be played within the building's architecture. This was not mere background music in the prior Japanese “BGM” sense of the word, but “environmental” music, the literal translation of the Japanese term kankyō ongaku [環境音楽] given to Brian Eno’s “ambient” music when it arrived in late 70's Japan. Yoshimura, along with his musical co-traveler Satoshi Ashikawa, searched for a new dialog between sound and space, a new way of listening: sound not as an absolute, but as something that interlocks with a physical environment and shifts the listener’s experience within it. Erik Satie's furniture music, R. Murray Schafer's concept of the soundscape and Eno’s ambience all greatly informed their work,  but the specific form of tranquil stasis presented on releases like Nine Postcards is still difficult to place within a specific tradition, remaining elusive and idiosyncratic despite the economy of it's construction. This record offers the perfect introduction to Hiroshi's unique and beautiful worldview: it's one that can be listened to - and lived in - endlessly.

Music for Nine Post Cards

Hiroshi Yoshimura (吉村弘) - "Water Copy" from Music for Nine Post Cards (EOS01) OUT 11/17/2017

Our third release will be this meditative masterpiece by Takashi Kokubo. 

Containing three tracks from the Sanyo air conditioner classic 'Get At The Wave' with a previously unreleased 15 minute 'Ocean Breeze' on the b side. 

Available for pre-order @ www.lagrecords.com

Underwater Dreaming

J.S Bach: Brandenburg Concerto No.3 BWV 1048

From the album, 'I Hunt Alone,' out now on Second Language Music : http://www.secondlanguagemusic.com/SL020.html



Directorsound - I Hunt Alone

In mathematics, we can find beautiful music. In beautiful music, we can find mathematics. Spirals of melody, circular structures, sequences, patterns. The debut album by the Will Gregory Moog Ensemble with the BBC National Orchestra of Wales conveys all this invention, this momentum, this bliss, in the foundational sounds of analogue synthesisers. But before we get to the inspirational work of Archimedes, let’s loop back to the beginning.
Will Gregory’s love affair with the Moog began in childhood with a cherished copy of Wendy Carlos’ Switched-On Bach. Later, in his 20s, he bought a Minimoog, and started improvising with it. “It was such an expressive instrument – I absolutely loved it,” he remembers now. “...the raw quality you could get from it, when its low frequencies could sound like an animal, or like the sound of the sea.” This was at a time when digital music was dominant, “so it felt good to have an analogue beast fighting against the tide.”
Two decades later he used it on Goldfrapp’s debut album, Felt Mountain, and while out driving, he heard some of Switched-On Bach again on the radio, and was catapulted back to his past; He was reminded about this instrument, and wondered how it could be used to play live in an ensemble of mono synths, with other synthesiser players that he had met on his travels.
Ever since, the Will Gregory Moog Ensemble – at times, comprising of up to fourteen players in total – have played small gigs and festivals. Heat Ray is their first original album together, made in collaboration with the BBC National Orchestra of Wales.

J.S Bach: Brandenburg Concerto No.3 BWV 1048

Will Gregory Moog Ensemble

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