mixed feelings

2023

burn a layer

Music! Live! Berlin!

XCZERPTINSKI

Still Life

October

Blowtorch

https://7-0-3.bandcamp.com/album/electric

Electric

Bandcamp

Rose

Grade 2

Under the Streetlight

230106 (dodecalogue 005)

Windmill, delayed drop
Spin the dried up dust
Foregather all pearls in the lyre
Loop in lively daffodils

Careless panoramas
Undertow, devour
Dash, sweep the thoroughfare
Echoed howls on louvers.

Garnering through and out, at the metaphysical intersection of the world, where harmoniously noisy flocks swiftly pass beyond divine blue air.

Japanese sound artist yolabmi delivered highly experimental musical visionary of modular buzz tones and atmospherics, approaching from harmoniums to high frequency stereo tones. 'Internal Resurrection' utilizes alleviative, yet extremely rousing soundworld captivated by sonic atmospheres.

Internal Resurrection

yolabmi - Internal Resurrection

The Clocktower at the Beach (1979) (Excerpt 1)

Tell Me Ma - Single

Tell Me Ma

Two Chambers

Tomorrow Never Comes

New American

In A Second Floor Window

Batiste

Amy asked me to join her in composing this song. Both of us wanted to focus on what we have, rather than complain about what's missing.

Composed by V. Theodore / A. Levine 
Victoria Theodore: voice & piano 
Lynette Williams: organ 
Nate Watts: bass 
Kyle Bolden: guitar 
Tommie Bradford: drums

All I Need

No Dreams LP excerpt

Bright Kiss Of Fire from the forth coming record ' The Ghost Of Georges Bataille" By Drew McDowall & Hiro Kone

Drew McDowall and Hiro Kone’s collaborative record "The Ghost of Georges Bataille" induces a state of suspense via sonic seance. Conjuring the sentiment of death as productive force, the artists join their analog paradigms to open a door elsewhere, or perhaps, inside - sublimating personal struggles into ritualistic offerings. Churning, cinematic, and pulsating with an organic sentience - The Ghost of Georges Bataille invites an undeniable presence into the consciousness and lulls both collectors and the newly inducted alike into catharsis - with the hairs on their arms standing up. Not for the casual listener.

Artwork by Tauba Auerbach
Written Produced and Recorded by Drew McDowall & Hiro Kone
Mixed by Hiro Kone
Mastered by Josh Bonati
Published by BANK Records NYC

The Ghost Of Georges Bataille

Drew McDowall X Hiro Kone - Bright Kiss Of Fire (BNK-013)

Buy/Stream: Anjunadeep.lnk.to/LYCKso
Pre-order the album: Anjunadeep.lnk.to/LYCFso

Tokyo's Yunosuke Senoo aka Lycoriscoris presents ‘Flight’, his first album released via acclaimed UK label Anjunadeep. In recent years Lycoriscoris has developed a reputation as one of Japan’s most exciting young producers, releasing two albums on local indie label Moph Records and performing live alongside acts like The Field and Mortiz Von Oswald at Tokyo’s legendary Dommune.

With influences ranging from the dreamy soundscapes of Boards Of Canada, to the jazzy glitch of Shigeto, Senoo's subtle fusion of organic melodies and futuristic electronic production has won support from the likes of DJ Koze and Michael Mayer, who released his ’Transient EP' on Kompakt sub-label KX in 2015. Senoo made his debut on Anjunadeep in 2016, contributing a track to the iTunes #1 Dance Album ‘Anjunadeep 08’, before following up with the 6-track 'Drop EP' in 2017 which has since notched up 1 million streams.

Over its 8 tracks, ‘Flight’ sees Lycoriscoris explore the full range of his emotional melodic sound. From the intricate textures of ‘Kite’ and orchestral groove of lead single ‘Flight’, to the haunting ambience of ‘Far’ and dramatic crescendo of ‘Stella’, Senoo weaves together a spellbinding tapestry of detailed soundscapes and lush electronica. Senoo also provides imagery for his cinematic sounds, with the album artwork and music video for ‘Flight’ comprised of imagery shot by the artist himself in his native Japan.

‘Flight’ is the latest in a string of notable artist albums released on leading electronic label Anjunadeep, following on from Moon Boots’ debut LP ‘First Landing’ which topped the KCRW album chart and picked up over 50 BBC Radio plays, Cubicolor’s ‘Brainsugar’ which has amassed 32 million streams, and ‘Tuesday Maybe’, the sixth album from legendary duo Way Out West which topped the UK Dance Album chart.

‘Flight’ is set for release digitally and on vinyl on Friday 25th May 2018 via Anjunadeep.

Pre-order 'Flight'

Lycoriscoris - Stella

@beliawinnewisser is returning to Präsens Editionen with her debut album as a solo artist. Radikale Akzeptanz is her second release on the “the curious label arm of Lucerne’s zweikommasieben magazine” (as Boomkat put it) after PE-010, an esoteric split tape with Berlin’s @leozylberberg that sold out pretty much the instant it hit the street.

Radikale Akzeptanz, a furious amalgamation of (synth-)pop references and more abstract sounds, combines long running traits from Winnewisser’s practice in various band projects (including Evje and α=f/m) with rather new interests from her studies in sound art at Hochschule der Künste Bern. A bittersweet off-pop-hymn like “The View” with its bubble-y melodies can be found next to an austere piece like “WAHDWTH,” that is examining a dry motif, transforming it into a squawking kick eventually. The record is not about those two poles however, but rather the in-between. Radikale Akzeptanz is coined by an overall quality equally relaying on pop-sensibilities and brutal sound design, as perfectly exemplified in tracks like “III” or “Ataraxie.” Add a good amount of time spent in clubs and you get the Skull Disco-esque banger “Albasty”—the closing track on this gutsy album.

The title Radikale Akzeptanz (or radical acceptance, as the term would translate from German) stems from a concept in evidence-based psychotherapy. Its basis is the notion that only an uncompromising acceptance of your situation can lead to a reduction of your suffering. Thus, radical acceptance doesn’t mean satisfaction—rather it’s supposed to be a taking on, an acknowledgement. Even more than the concept as such though, it’s the expression’s mere sound that is of interest to Winnewisser: [ʀadiˈkaːlə akʦɛpˈtanʦ]. Homey and adventurous, gentle and challenging, at ease with itself and full of tension(s)—as if coming to terms with the materiality of our life as such.

—

The record was mastered by @rolflaureijs (of Wavering Hands, @edipo-re etc.) and features an enigmatic artwork including a booklet full of drawings by Vinzenz Meyner. After successive LPs by @gondwana_andreataeggi and @wishniak it’s the third audio release on Präsens Editionen in 2018.

Belia Winnewisser – Ataraxie

In Medias Res

HELM - Chemical Flowers
Format: LP / CD / Digital
Cat.No: PAN 99
Release Date: 17 May 2019
Purchase: https://bit.ly/2Uxqs9z / https://bit.ly/2UpJ0bA

Luke Younger returns to PAN with an eight-track album of his most direct work to date. Composed alone at NO studio in the Essex countryside, to start an album with a piece called ‘Capital Crisis (New City Loop)’ seems an intentional misnomer. Long, sustained periods in the rural studio setting see Younger working with an array of fragmented, disassociated sound sources to build upon 2015’s Olympic Mess. It shares a similarly inclined vision of the urban environment, but here Chemical Flowers makes reference to paradoxical notions of authenticity and creative practice by way of questioning the structures around us. Collages are assembled and dismantled, temporal and spatial boundaries fluctuate and movement is an overarching theme.

Surrealist drowned world atmospheres sculpted far enough away from the source of inspiration leave plenty of room for ambiguity. The nocturnal nature of the recording process is self-evident, and pieces like ‘Leave Them All Behind’ tap into a deep psychedelic undercurrent. Confused narratives, emotions and aleatory hallucinations ebb and flow throughout. ‘I Knew You Would Respond’ evokes murky soundtrack terrain with eerie repetitive strings and ambient respite, disrupted periodically by brief bursts of granular noise. It’s one of the records most unnerving moments, possibly as it’s one of the most recognisably human.

The album navigates dense passages with recurring signifiers. Hollow percussion, modulating delay and curious field recordings come and go, maintaining a perpetual state of flux where nothing stays the same for long. The drowned world theatricals return on the swamp-like ‘Lizard in Fear’ whilst string rhythms creep in on the penultimate track to incite momentary electroacoustic harmony. Floating synthesis slowly washes over and the title track unfolds - five minutes of reverb-laced portamento, visions of decay and Editions EG influenced
world-building. Movement is key.

Chemical Flowers features string parts arranged and recorded by JG Thirlwell (Foetus / Manorexia / Xordox). Additional cello played by Lucinda Chua and saxophone by Karl D’Silva. The album is mastered by Rashad Becker, featuring artwork by Johannes Schnatmann & Bill Kouligas.

http://p-a-n.org

Chemical Flowers

HELM - I Knew You Would Respond (PAN 99)

The Sacrificial Code

Kali Malone - Litanic Cloth Wrung (from "The Sacrificial Code" iDEAL 2xLP/3xCD)

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.

The Clocktower at the Beach (1979) (Excerpt 1)

williambasinski