Subtle ethereal ambient atmosphere, very nice work!

excellent chill here... like this empty space but full of Minds

Great Track! You guys are fantastic and Sound Cloud seems to be the home of real music Genius.  Terence Thomas:

@absorption: big thank you , happy yu like it 

It takes your breath away ... purest beauty

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)

Pre-Order
Release date: June 25, 2021

It might be easy to assume that the distinctly focused compositional voice unveiled on Rose Bolton's The Lost Clock is the product of its creator's rigorous, almost hermetic dedication to her own particular aesthetic universe. A quick survey of Bolton's artistic career, however, reveals that her carefully sculpted approach to abstract electronica has been forged through a longstanding engagement with a wide range of intertwining creative activities.

This album—coming out on Important Records' cassette imprint, Cassauna demonstrates both the Toronto-based composer's unique mastery of colour and her gift for breathing a tactile, organic quality into synthetic landscapes. Bolton's distinctive sensibility is akin to that of a painter—every hue has been carefully mixed so as to imbue its accompanying gesture with its own life and personality. This tangible dimensionality her electronic work assumes, however, can be traced back to the work Bolton has been doing since the 1990's. She has produced a large and varied catalogue of work that includes pieces for solo performers, chamber ensembles, orchestra, electronics, voice, and to accompany installations and films. A number of her works reside in several of these zones simultaneously, such as Song of Extinction, an ambitious collaboration between herself, filmmaker Marc de Guerre, poet Don McKay, and multiple live ensembles, that was mounted in an abandoned power station for Toronto's Luminato Festival.

This quasi-instrumental vitality isn't the only feature of The Lost Clock that reflects Bolton's diverse artistic practice. It can also be heard within the structural realm. Each of the collection's four tracks trace a patient unfolding and favour a certain roundness of timbre, even as finer details begin to fidget along the perimeter of the music. As with her writing for the concert hall, Bolton doesn't shy away from the evocative here, yet she doesn't pursue this poignancy through conventional, direct or quasi-narrative means. Her compositions lead the listener gradually through their impressionistic sonic scenery, but neither the path they take nor their ultimate destination are at all predictable. The ostensible gentleness each piece exudes dissolves as dissonances slowly insinuate themselves, obscure textures writhe just out of earshot, percussive lattice work materializes, or as the overall blend begins to exert a heavier weight. Her lucid-dream vision of form functions in tandem with her acute micro-level attentiveness to engender a vivid and elusive soundworld that resists classification.

Over more than two decades Rose Bolton has been garnering acclaim and enthusiasm from audiences and major collaborators alike. Last year, her brooding string quartet The Coming Of Sobs was nominated for Classical Composition of the Year at the JUNO Awards, following earlier accolades such as SOCAN Awards for Young Composers, and the Canadian Music Centre's Norman Burgess Fund. Her music has been commissioned by the likes of the CBC, stalwart experimental music festival the Sound Symposium, as well as key interpreters and ensembles such as percussionist David Schotzko, accordionist Joseph Petric the Esprit Orchestra, Continuum, Arraymusic, the Kitchener-Waterloo Symphony, and guitar quartet Instruments of Happiness (led by Tim Brady).

The Lost Clock

Rose Bolton - Unsettled Souls - from The Lost Clock - Pre-Order Now

Alaban

Approach

Originally released 3.07.2018 on secret press as C40 cassette tape

The other side of feeling of seclusion and loneliness is a closer meet with the thin layer of perception whiteout social suite of it. This moment of meeting nonverbal sensations caused by connections of all life periods into single picture and sense of 'own' story.

Blear Moon -  Gone

~ LAAPS 028 ~ [SEQ.04 - LP28]

artist : Ned Milligan
 album : Considerable
duration : 43.49 mn
 date : May 29th, 2023

edition :
-  vinyl : limited to 300 copies / yellow green transparent LP / pantone / hand numbered 
- cd : limited to 200 copies / hand numbered + handcrafted, sealed

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pre-order : May 05th, 2023 / official release : May 29th, 2023
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chimes, singing drum, autoharp, field recordings, processing: Ned Milligan.
campfire recording in "Sky Smokes & Electronics": Jerome Klap.
additional percussion in "Mosey With Me": Rory Milligan.
singing: graciously and anonymously donated.

recorded mostly outdoors, sometimes indoors in York, Maine .

Mastered by Taylor Deupree (12k)
Cover Photograph by Joe Librandi-Cowan
Design by Sprflxgrfzm

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Links :
https://laaps-records.com/
https://www.nedmilligan.com/
https://nedmilligan.bandcamp.com/

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℗ & © 2 0 2 3 - L A A P S - L A A P S 0 2 8

Ned Milligan - The Path You Took To Existing (excerpt)

Can you hear it in the air? A storm is coming, electricity is in the air.

Le temps de l'orage

The B side of Dissolution. LP/digital release on Glistening Examples, November 11th, 2016.  25 LPs were special edition, with 35 mm slides embedded in the clear vinyl. Copies of the regular LPs are still available on Forced Exposure
https://www.forcedexposure.com/SearchResult.html?SearchType=Basic&Type=artist&Key=olivia%20block

DISSOLUTION B

”Outer Soundscapes” is consisted of 5 songs full of high range ambiences and drones,which will remind you of some kind of trip through the unknown galaxies, far away from the earth. I really like the basic idea behind this project, cuz you can play these tracks to the hardline fans of noise or,on the other hand, you can still impress all the folks who are into ambient and drone music. Even the rookies who are simply out of this kind of experimentation will enjoy in the tracks such as: ”Secrets Of Zaibatsu Technology”, ”Cosmic”, ”Lost In Endless Space”, ”Fading Through Supernova” & ”Outer Voices”. You can even feel the darkness, emptiness and constant feeling of the unknown while listening to this material. 
... from http://deadtones.wordpress.com/

Artwork [Cover] is product ov neue urform. 
Editions limited to 20 copies.

Marko Jovich-Cosmic

neutragonésis (ft. den5hion)

Matière Mémoire presents the MMXX Series.
In anticipation of the year 2020, Matière Mémoire asked 20 great artists to create an original 20 minutes piece and an artwork.

MMXX Kassel Jaeger - Vol Sombre (Excerpt)

Multimedia artist from Croatia
Owner of Xernex label
Contact: xtematic@gmail.com

Marko Jovich-Cosmic

Xtematic

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