Taken from the album 'The 8 Of Space' released as LP, CD and Digital

SchneiderTM 'Oh Life' (EMEGO 297)

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)

The final volume of the Pulsar.scramble series. All tracks are composed using pulsar synthesis, an advanced form of particle synthesis used to generate trains of sonic particles. Its output ranges from singular impulses and sequences to continuous tones across multiple perceptual timescales. 

Most of the material presented in this series uses the New Pulsar Generator (nuPg) software designed by Marcin Pietruszewski.

https://pwgen20.bandcamp.com/

Multifoil (Pulsar.scramble vol. 3)

From the new album by Chinese-Australian guzheng artist Mindy Meng Wang (and collaborators), 'Phoenix Rising'. Available for purchase here: https://mindymengwang.bandcamp.com/album/phoenix-rising

Mindy Meng Wang & Fia Fiell - Undercurrent 暗涌

Following on from the 2016 Korea Undok Group compilation LP Penultimate Press is proud to release the follow up, Senescence. Covering material recorded in the last two and a half years, this new cd comprises 50% works previously available on private tiny run cassettes and 50% works made for an abandoned lp. Abandoned being a good word to use again here as this collection of barley-there trace element songs and decaying acoustic snapshots will leave the listener with a sensation not so dissimilar to the feeling abandonment conjures.

Please note there has been zero mastering on this release as we wanted it to sound as shit as possible.

Fixed Ending

from the album "Ever So Beautiful" on Noir Age.

Anasisana - If I Weren't In Love With You, I Would Fall In Love With You

A Candy-floss islet
At one glance poisonous
Nestle in the curve of the roots
Sylph is hiding sharp tooth

In the narrow cave
Hollow river gobbles the ruins

Air marches in servitude
Blown curves of early clouds
& the sight of the candy-floss
Remains as a white ribbon.

In the time we strive to forget unattainable voice, all splendor and great temptations are almost always the result of being conscious. Even a small shudder will break the sea, while the silenced rapture of aliveness can be construed in a world where the wind can be a guest and the trees are full nests. We stand argus-eyed, close by the horizon behind us, moving forward to the wave that will repeat itself endlessly.

'Ephemerides' reveals the duality of humming drones and natural sounds as mellifluous curl grinds in noise by the hands of Samuele Larese under his moniker - Lessons in Hate - within reposeful atmosphere of the mountains, which remains the basis for the record as it is orchestral-like, carried out by the forest.

Ephemerides

Lessons in Hate - Beyond the Mirror

Soundtrack to indie feature film "Ana & Mia" by Black Revel Productions

He Looks At Me

“To lose one's self to the act of listening, to become fully that which is attentively experiencing the music.”-  Daniel M Karlsson

A loss of self features renders of two drones in just intonation of indefinite duration. Daniel M Karlsson has made the code for this music freely available via his website which can be downloaded, modified, and listened to using the open-source program SuperCollider at - danielmkarlsson.github.io

C60 XK15

Daniel M Karlsson - A loss of self (excerpt)

Taken from 'Rhythmic Landscapes', out now on Takuroku - www.cafeoto.co.uk/takuroku

"I wanted to make something which reflected a scene of nature, outside of the city, somewhere which has become more and more attractive to be over the last few months... So I made these synthesised percussion sounds to be almost real and wooden, which are weaving in and out across different tempos, playing patterns that are somewhat regular, but always changing slightly. This is meant to be analogous with the dawn chorus, or any scene of nature where lots of different small events are happening, layered, at once... But I only had the dawn chorus, so I recorded that at 4am on Monday morning. These individual bird songs weaving in and out, repeating, different birds joining and leaving throughout. So it's meant to be 3 different sound environments, or imaginary frames of an environment at 3 different moments." 
- Cam Deas

TR049 - Cam Deas - 'Rhythmic Landscapes 2'

"Erik K Skodvin's first solo film score evokes otherwordly dreamscapes that capture the atmosphere of the film Anbessa (2019), shot in Ethiopia by director Mo Scarpelli." 

Listen to the title track from the LP here. Pre-order in link.

As a "creative" documentary the film follows Asalif, a 10 year old imaginative boy caught between the ancient and the new, navigating modernization on his own terms. Asalif tries to make sense of things while living in a shed on the outskirts of Addis Ababa with his mom. A place where capitalism and “progress” is closing in on all fronts, and threatening their lifestyle. By becoming a lion (anbessa) he can fight back against the forces outside of his control.

Watch the film on MUBI from August 26th (for one month). Also available for rent or purchase through Video on demand.

Daniel M Karlsson - A loss of self (excerpt)

XKatedral

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