My track 'Astray' is a part of the stunning move for freedom - the compilation dedicated to events in Myanmar. It aims to support struggling people in their protest, therefore it is filled with striving for liberation and the spirit of fighting injustice. A truly explosive and powerful compilation! But my track is not about struggle.
 It reflects confusion, slowing down and turning inward in attempts to find the own place in the actual processes,  and distortion of thinking in attempts to pave a new route on an already irrelevant map. 
 Hope you will find it actual.
Also! You can take part in supporting Myanmar people by buying this album. I should say, it's really rich. Just look at the tracklist. What names it included! 
Proud to be part of it.
https://makenoisemyanmar.bandcamp.com/album/make-noise-myanmar-2

Astray

Made with my Fall Norns script: https://github.com/ambalek/fall

Fall4

𝐁𝐨̀𝐬𝐜 - Extrait
2021

Marthe Tourret: violons, chant
Lisà Langlois-Garrigue: chant, tun-tun
Mathilde Spini: cabrette, boha, chant
Elisa Trebouville: banjo, requinto, chant
Noëllie Nioulou: violon, viole de gambe, chant

Anaëlle Marsollier: prise de son, mixage, mastering
-- 
𝐁𝐨̀𝐬𝐜 est le fruit d’une rencontre autour d’un territoire et de ses bordures. Les cinq musiciennes proposent une interprétation de chants du sud Massif Central, confrontant d'autres pratiques issues notamment des musiques contemporaines.

Labastida / L'èrba d'amor

taken from ET-100
http://www.archive.org/details/ET-100

ET-100 | Fermium

Yoichi Ichikawa - Well Tuned Metal (Excerpt) | ET-100

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)

for 7 violas

performed by Ensemble IPSE, cond. Carl Bettendorf 


Artwork: Samantha Keely Jones

Shedding (2022)

Recorded in London in two sessions during 2016

www.danielthompsonguitar.com
lucas.earshots.org
credits
released September 26, 2018

Edward Lucas / trombone
Daniel Thompson / acoustic guitar

Recorded in 2016 by Daniel Kordik
Mixed and mastered by Edward Lucas
Photograph by Edward Lucas
Design by Earshots/Dept2

EAR011 - Edward Lucas & Daniel Thompson - Six By Two And Three By One [sample]

"Soulcaster" is the third solo record by Brooklyn-based composer/performer Joanna Mattrey. Following Live in Accord and various Notice Recordings-curated performances in the Hudson Valley, this album is a further development in our years-long friendship. With "Soulcaster", Mattrey scrapes, scratches, and wails on viola, prepared viola, and a tromba marina, built by Webb Crawford. Mattrey’s love of unique and unusual sounds has inspired her to alter the pure tone of the viola through preparations with styrofoam, plastic toys, chains, and other objects. But the newest sounds in her arsenal come from the tromba marina, which has one primary playing string and thirteen sympathetic strings. Rather than gently coaxing out the harmonics, as the historical playing style suggests, Mattrey employs a raucous and roaring approach.

The title, "Soulcaster", is borrowed from Brandon Sanderson’s book series, "The Stormlight Archive". In the fantasy series, a soulcaster is an instrument that transforms one object or life form into another. Mattrey’s practice connects heavily to the idea of transformation. She uses preparations and objects not only to create new sounds from her instruments, but to embrace the unknown. No matter how many times the same object has been used, depending on the vibrations on a given day, the preparations might bring out totally different sounds. This randomness creates a joyful challenge for Mattrey, who believes that especially during improvisation, music has its own life that activates and guides the sound forward. Mattrey surrenders to this energetic line of sound over the eleven tracks featured on this tape.

NTR076 - Joanna Mattrey - Soulcaster - [Sing Out]

Tatsuro Murakami is an artist originally from Tokyo, Japan, who spent several years Brazil before returning home, to rural Japan. After emerging from his earlier work as part of a progressive rock band, Tatsuro began to make Ambient and Experimental music. In the year that he graduated from a conservatory in São Paulo, he released his debut album on La Petite Chambre, a label from Belo Horizonte in Brazil. A few years later ‘The Sound of Living Things’ followed, on Italian imprint ROHS! Records. He has also headlined with many well-known compatriots including Shuta Yasukochi, Rhucle, Ken Ikeda and Ayami Suzuki.

Tatsuro’s work draws inspiration from places and feelings, whether this be photography, film or personal accounts and experiences. Living in Latin America and recollecting his time in rural Japan, nature has become a fixation for this artist, bleeding into the concepts of his work. A wide and varied taste covering styles such as Brazilian Choro music, Ambient and Jazz combined with his studies and performances as part of bands such as Stone Music, has led to a beautiful combination of sounds and textures in his solo work.

‘An Imaginary Autumn’ is a set of seven reflections, transcribing the eight years’ worth of Japanese Autumns that Tatsuro was not able to experience, due to personal circumstances. He aimed to create something as beautiful as the autumn leaves in Japan, which he was unable to see for himself. He stepped outside one December, only to be greeted by the cold winter wind as Autumn had already disappeared.

Tracks range in mood and composition, with opening piece ‘Slow Dance’ reflecting chord progressions that you might hear in Choro or Jazz music. ‘Liquefied Surface’ decodes the randomised melodies of a small modular synth kit before ‘In Her Absence’ warps electric guitar and bass into unrecognisable instrument sounds. Centrepiece ‘Misplaced Dream’ takes a solo guitar motif recorded to cassette tape, adorned by further iterations of minimal guitar sounds and happenstance tape-processing errors. The absorbing ‘Swimming in the Dark’ and its satisfying hiss follows, using a recording from a dark and rainy day in Tokyo. ‘Dialogue with a Mountain’ haunts, as Tatsuro’s first toy keyboard is turned into a droning soundscape, fed through some effects pedals. Closing piece ‘Rising of Something Brilliant’ places an electric guitar loop alongside some classical guitar chords, with cascading echoes of subtle overdrives and faded riffs ebbing into a melancholy bliss.

‘An Imaginary Autumn’ is the second album to utilise our new record wallet style format, with artwork provided by Tatsuro’s long-time collaborator Anais-karenin. The photography here perfectly depicts the idyllic Japanese autumns that Tatsuro had been starved of for so long, until finally he was reunited in 2021.

Music & Mix by Tatsuro Murakami
Mastering by James Edward Armstrong
Original Photography by Anais-karenin

An Imaginary Autumn

wlr143 Tatsuro Murakami - An Imaginary Autumn

http://cargocollective.com/luciengaudion/Nocturne-I

nocturne I est une « musique pour la nuit » elle s’inspire de celles composées au début du XIXéme siècle par les compositeurs de musique romantique et nous plonge dans un paysage sonore synthétique explorant une faune nocturne travestie par des procédés de synthèses sonores.

Cette pièce se joue sur un dispositif de hauts parleurs mobile, la nuit et en extérieur sur un dispositif d’enceintes mobiles sur batteries.

Première écoute sur l'archipel du frioul le 8 octobre 2016.

Nocturne I

lucien gaudion

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