Nice psychedelic sounding tones. Great one!

field recordings - ambient - noise

Never The Right Time

When it hits

Tri Repetae

Overand

Confield

Eidetic Casein

Cold Reading

All My Dreams Are Nightmares

Boards Of Canada - Chinook

Swimming Pool

Puddles on My Pillow

Sex With Sun Ra (Part Two - Sigillaricia)

A loop-based DJ mix of field, contact and electromagnetic recordings. These were captured using a Zoom H4N and an assortment of microphones including binaural, coil pickup and piezo models.

Field Recording

Second track from the new Jon Hassell album 'Listening To Pictures (Pentimento Volume One)' - Out now:
smarturl.it/listeningtopictures

Following the news last month of the first album in nine years by Jon Hassell, Ndeya Records is proud to share the second piece of music from Listening To Pictures (Pentimento Volume One). Whereas first track “Dreaming” utilised a repetitive, pulsating structure of lush texture, “Pastorale Vassant” deploys a different style with it’s skittering, insectoid, electronic gamelan sound. 

It has also recently been announced that to coincide with the release of the album, Jon will be making a rare appearance in New York City, reading excerpts from his forthcoming book The North And South Of You. The writing expands on some of the thinking that has underpinned his musical work for the last 40 years since he coined the term ‘Fourth World’ to describe his graceful interface of deep tradition with new technologies.
https://issueprojectroom.org/event/jon-hassell-riffs-hyperopia-and-music

JON HASSELL ON “PASTORALE VASSANT”:
"Hillside Pastorale" in the Catalan dialect of Spain.

I was staying in Deya, on the island of Mallorca at Mati Klarwein's house where flocks of goats roamed in the hills at night, each one with a slightly different neck bell. One balmy Summer midnight I stayed awake to record this floating, constantly-changing "gamelan" that enters in the distant background halfway into the piece.

Asked to say something about the piece, I listened again and, sure enough - "Twittering Machine" - the title of a Paul Klee painting of 1922 popped into my mind. Although I knew his work for years and his Pedagogical Sketchbook was in my library, the "twittering" title was what stuck to me and I had only a vague memory of the painting. But when I looked at the painting while listening I was amazed at how they reflected off one another in a kind of unintended "tone-painting" way (where the picture sounds like the music and vice-versa).

This highlights the difference in "Listening to Pictures" as the title of the record and "listening to pictures" programatically (i.e., does the music paint the picture like the title?)
 
Another notable comparison here is how two possible angles on "listening" appear:
1) programmatically - where features of the "painting" are being evoked as in "tone painting." (Debussy - La Mer)
2) in the meaning of the title, Listening to Pictures, where vertical listening facilitates perception of shapes and a heightened consciousness of the entire audio spectrum which leads to your own "internal paintings."

NOTE: THESE ARE NOT MUTUALLY EXCLUSIVE!!

© 2018 jon hassell

Jon Hassell - Pastorale Vassant

FUJI||||||||||TA, iki, LP

Release date - April 3th 2020
Catalogue nr. - HG2003
Format - Ltd. Vinyl/digital

https://hallowground.bandcamp.com

Credits:
All music composed, played and Recorded by FUJI|||||||||||TA
Mixed by Makoto Oshiro
Mastering by Lawrence English at Negative Space

Tracklist:
1) keshiki (09:42)
2) nNami (09:20)
3) osoi (10:12)
4) sukima (07:03)

///
"FUJI|||||||||||TA has created a work that operates as a beautiful nexus between the material and immaterial qualities of music. 
It is a lived-in dreamscape of deep, rich tonality. A remarkable debut."
(Lawrence English)

///
FUJI||||||||||TA, real name FUJITA Yosuke, is a Japanese sound artist. After countless performances in different contexts either solo or along artists such as Yamantaka Eye of Boredoms and the legendary avant-gardist SUZUKI Akio as well as a slew of solo releases, his LP »iki« (»breath«) for the Swiss-based Hallow Ground label is his first in nine years. On these four pieces, Fujita explores the idiosyncratic sound qualities of the pipe organ he has built all by himself in 2009. This - quite literally unique - instrument features only eleven pipes, an air pump called »fuigo« which was modelled after a traditional blacksmith’s one and has no keyboard. Inspired by traditional gagaku, it was designed to evoke rich landscapes rather function as just another musical instrument. While his previous records saw FUJI||||||||||TA explore various modes of abstraction, »iki« is a highly emotive yet meditative album, musically restrained but full of imagination.

»keshiki« immediately sets the mood for this record with a long sustained note that is punctuated by the soft clicking of Fujita’s air pump. Once Fujita carefully starts bringing melodies into play, the interplay of the drone and the discrete rhythmic element gives way to a fuller harmonic whole. »keshiki« is an intimate piece that perfectly displays the artist’s knack for painting a rich sonic picture with only a reduced palette. »nNami« juxtaposes the sounds of two pipes that are out of tune with each other, creating a hypnotic sensation of ebb and flow (»nami« translates to »wave«) that is full of subtle friction. It’s a staggering artistic interpretation of the instrument’s material characteristics. Clocking in at ten minutes, »osoi« (»slow«) is an overall melancholic piece that explores the relationship between different tone colours through minute changes in pace. Finally, »sukima« (»blank space«) is the shortest and the most rhythmic piece of the four. Composed of only staccati, it is a masterful exploration of the harmonic qualities Fujita’s stunning pipe organ has to offer.

Recorded between September and December of 2019, »iki« marks the culmination of FUJI||||||||||TA’s ten-year-long work with the instrument that he had built without any prior knowledge and started to teach himself to play without a manual in sight. It is, in other words, the unique result of a unique musical mind paying his dues to the uniqueness of his own creation; introspective and welcoming at once.

FUJI||||||||||TA - osoi (HG2003)

Preview of the album 'Luchtwezen'
SØVN Records, July 15 2020, cd/dl/stream
https://sovnrecords.bandcamp.com/album/luchtwezen
____

Constructed by Rutger Zuydervelt, Rotterdam, February – April 2020
Rutger Zuydervelt: church organ (Oude Kerk Charlois), electronics
Berlinde Deman: serpent and vocals (recorded at home, Ghent)
Mastered by Ian Hawgood
Many thanks to Lies Klaus, Gilbert van Drunen (Koffie & Ambacht),
Jaap van Gils, Stepping Stone, and SØVN records 
____

Rutger Zuydervelt, a.k.a. Machinefabriek , needs no presentation to the ambient and drone audiences. (Hyper)active since the early 2000s, he epitomizes a minimalistic, electro-acoustic approach to these genres bringing together real world and synthetic oscillations. Berlinde Deman is a tuba player, and amongst many other projects member of the unconventional jazz big band Flat Earth Society.

In Luchtwezen, the two are brought together by a common veneration of the physical experience of the creation of sound. Both musicians each exploit on this record an unusual instrument: Rutger plays the Hess church organ of Oude Kerk Charlois, in south Rotterdam (together with some electronics); Berlinde sings, and plays the serpent, an ancient wind instrument, made out of wood and shaped like a snake. The meeting of the two should have taken place, as a matter of fact, in the Oude Kerk Charlois itself, during a live concert organized by Koffie & Ambacht. However, the quick rise to power of Covid-19 forced the duo to turn this get-together (as all musical get togethers during our quarantines) into a virtual one: a studio recording, that you can hear as Luchtwezen .

And yet, by just listening to the record, you may be fooled into thinking that this was a live recording - as we have all thought, because of their intensity, that some quarantine Zoom calls were not happening over a screen, but rather out there, in the real world. The flow is natural, the sound space unitary. The clicks of the organ keys are just right there in front of us. After the first brooding half, we all feel the mysterious, oriental breath flowing from the serpent in the spaces between us. And then, a simple melody sang by the organ reminds us of the feeling of excitement of going to a live concert - where you know that a serpent will dance to the sound of the organ's pipes.

Machinefabriek with Berlinde Deman – Luchtwezen (preview)

River I Excerpt

ZERO IS MORE THAN NOTHING - VARIOUS ARTISTS
@ecstaticrecordings @angeloharmsworth

https://ecstaticrecordings.bandcamp.com/album/zero-is-more-than-nothing

River I Excerpt

williambasinski

Recent comments

rabbitsquirrel

Ajna

Crussbeat

Rune Martinsen

Related tracks