Name: KARUMA by WIMOG in SoundCloud Weekly
Duration: 11 min 26 s
Description: https://open.spotify.com/album/18Wdi9q04IPQxxo1RbqlN5

true FINE ambient w/a subtle blend of instrumental melody and Mecha... well done! 🙏☮️

so unique, my mind go brrrrr with strange imagery

SoundCloud Weekly

The titular track from Lathe, available now from Shimmering Moods Records on tape, CD, and digital.
https://shimmeringmoodsrecords.bandcamp.com/album/lathe

Lathe

Original Track by :
https://soundcloud.com/jbot/conformal-cyclic

J-Bot - Conformal Cyclic (Senglar 13th Rmx)

TR130 - Julia Reidy - How to spot a rip [excerpt]

monomonoi - 50weUf

https://open.spotify.com/album/18Wdi9q04IPQxxo1RbqlN5

KARUMA

Air, in both its stillness and its movements, is what compels INVASIVA, the latest release by multidisciplinary artist Dorian Wood.

In early 2022, Dorian set out to investigate the root of her anxiety—and how her breathing is both affected by, and complicit to, her mental state—during an artist's residency at Loghaven in Knoxville, Tennessee. Upon touring the campus, she learned of the Whittle House, an abandoned cabin on the grounds that had not been inhabited for many years, set apart by the other nearby, fully-restored cabins. In encountering this site, Dorian connected with the idea of isolation as a catalyst for disrepair. She came to understand how separation could trigger a fear of losing self-awareness and the inability to escape. 
 
INVASIVA is a document of the artist meandering physically and mentally between two forms of confinement: "mandated" and "self-imposed". Like an abandoned house, the composition is filled with a stillness that seems both uninhabited and anticipatory. Gradual shifts in tone build an atmosphere of meditation, and droning notes are sustained like a deeply held breath. And yet, despite the fear of quiet isolation which permeates the piece, INVASIVA swells with slow respiration, revels in the wind, and echoes with gentle reminders of outside life. 
 
The work is one that emulates a contemplative state which is constant threat—and perseveres.  Comprised of the recorded stillness within the Whittle House, and sounds captured in the office lobby of Dorian's breathing specialist in Los Angeles, INVASIVA is a quiet, ethereal triumph over suffocating loneliness. It is a piece that is filled with inhalation, anticipation, reflection,  exhalation, release—it is filled with air.

Invasiva

Dorian Wood - Invasiva (excerpt)

@music_is1 @hviledag

It began as an art project. Inspiration was taken from the sounds of her adventures, in the city, forest and by the seaside. Random elements gave the track structure. We then had the pleasure to invite three artists, each with their own unique sound. Now, the journey of listening is yours.

Purchase: https://music-is-zeze-wakamatsu.bandcamp.com/

Releases September 22, 2022

Artwork by Sébastien Mercier & Maison Sagan. Mastered by Amandra.

Links:
www.instagram.com/music_is_records/
https://www.instagram.com/hviledag/

Support the label

B1. Hviledag

creme 4 creme v2 the cremening

Short excerpt from the upcoming album "Neutral Star" by The Pitch & Julia Reidy. LTD LP + Digital, September 22nd on Miasmah.

"The Pitch is a quartet made up of Boris Baltschun, Koen Nutters, Michael Thieke and Morten Joh. Founded in Berlin in 2009, they play a hypnotic form of structured improvisation full of acoustic exploration and electronic intervention. On Neutral Star, The Pitch are joined by Australian guitarist/composer extraordinaire Julia Reidy for a record of star gazing electro-acoustic jazz."

The Pitch & Julia Reidy - Endless ≠ Limitless (Excerpt)

L0$TWX$TE debutes on feverdream. with a track, inspired by Memory Hole. maria popel listeners recommend this to get spooked.

Follow L0$TWX$TE:
https://soundcloud.com/l-0-s-t-w-x-s-t-e
https://www.instagram.com/l0stwxste_music

Follow feverdream.:
https://soundcloud.com/fever-dream1
https://www.instagram.com/official_feverdream
https://discord.gg/officialfeverdream

Follow 𝓶𝓪𝓻𝓲𝓪 𝓹𝓸𝓹𝓮𝓵 𝓪𝓾𝓭𝓲𝓸:
https://soundcloud.com/maria_popel
https://www.instagram.com/maria_popel_audio

Check out our friends over at Unknown Future:
www.youtube.com/channel/UCPicDY_XgzE5B_Aa7vaofYg

L0$TWX$TE - untitled_06_jan_20.wav

off the Not Art Records 2017 mixtape
http://www.notartrecords.com/mixtape-2017

Feed Me

Parva Lumina, per Giuseppe Chiari.

Recorded in November 2018 at Chiesa di San Giusto a Ema (Florence). 

Luisa Santacesaria: Pipe Organ
Daniela Fantechi: Electronics
Marco Baldini: Tapes

Pipe Organ built by Filippo Tronci (Opus 1120) in 1835.

Composed, recorded and mixed by Marco Baldini and Daniela Fantechi.

Thanks to Gianni Cioli, Agnese Fortuna and Filippo Lagi.

https://kohlhaas.bandcamp.com/album/anabasi

Parva Lumina

Quitratue

Cathedral Ranges

Track from:
Simon Whetham "Forced to Repeat Myself" CD

“When performing with a limited set of resources, through choices in materials to work with and the constraints of being nomadic, there can be a tendency to repeat actions and scenes that 'work', even when improvising and having to respond to each new situation in a unique way.”

One characteristic aspect of the touring experience that is not discussed often enough is the dilemma of repetition. Not repetition as a mechanism of the work itself, but as a tedious consequence of being obligated to perform night after night in quick succession. Generating a completely unique performance for each stop, even with the assistance of improvisation,  is a laborious undertaking that consumes too much time and sanity, while adhering to a rigid set of rules leaves one open to both burnout and diminishing returns. Is there a way to split the difference so that both performer and audience are always engaged to the highest standard?

“I set these constraints on myself. The need to produce something (at least a little) different in each event of a tour was fierce, especially when traveling with other musicians.”

Explicitly within the title itself of his latest CD, Forced To Repeat Myself, UK sound artist and composer Simon Whetham tackles these questions with both a sly wit and sincere inquisitiveness. The tracks, all collected from recordings documenting a 2018 tour, utilize analogous source material and means of execution.  Whetham paid particular attention to the contour and character of each venue when deciding how to best put the pieces together, offering a customization that subverts pure deja vu for a sharp observance of the unfamiliar.

“In each situation objects and materials unique to the space were incorporated into the performance setup and structure, generating sounds or resonating with them. And yet I could hear similar scenes, movements, even spaces. This repetition determined the dynamic of the composition, working with it and against it.”

By the very nature of their disseminating sparseness, the tracks of Forced To Repeat Myself demand from the listener an attentiveness fixed on nuance and variation. The amplified cracks and static of ethereal currents and anonymous electronics infer the works of others who’ve made it their mission to attune our attention toward sounds outside our natural perception, including Christina Kubisch’s electrical walks, Toshimaru Nakamura’s no-input mixer excursions, and Jason Zeh’s experiments with blank tapes and the mechanizations of his cassette players. Whetham’s shaping of the album’s source material to highlight certain exclusivities of each live performance emphasizes how the inherent dynamics of time and chance guide his self-imposed constraints into pathbreaking spectrums. 

“The title references a phrase many of us will have heard in our formative years, ’Why do you force me to repeat myself?’ I have no answer to this question. I never forced anyone to do anything. But with this work, I did.”

One inherent paradox of Forced To Repeat Myself is that each listen naturally manifests a distinct, individual experience. The way sounds are received and processed in one instance to the next each forget their own entryway into transcribing meaning from this abstraction. And Whetham is keenly aware of this as the sounds of Forced To Repeat Myself find consistent, unique ways to perpetuate themselves, ensuring any repetition to be delicately understated.

Forced to Repeat Myself

Forced to repeat Myself

Simon Whetham "08-11"

OUT January 2021 - All info. https://sagealyte.bandcamp.com



Support us on Bandcamp:

Sage Alyte.

Roxane Metayer - violin / effects
David Jarrin Zabala - banjo / percussions / synth

Recorded and mastered by Christophe Albertijn @ Les Ateliers Claus.

KARUMA

WIMOG

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GloStix

Weekend by the sea

灵林【LingLin】

B.Moth

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