From forthcoming LP "Murmurations" available on Cibachrome Editions April 1st 2022 https://leabertucci.bandcamp.com/album/murmurations

A Vast Interiority - Lea B + Ben Vida

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

Good morning, good afternoon and good evening. Whatever part of the world you're in...

It's difficult to talk about sound. When we close our eyes and listen, there are no boundaries and as such, what we feel can often not be described with the words we know. Our feelings are unique & different.
There is no word or genre that unites the artists of the label. Putting a word on a style, in order to classify, takes part of the magic away. Instead, what unites us is our passion for sound, dancing with friends and growing together.

Hoping to see you soon and wishing you much love, music_is

Releases December 25, 2021, Digital & Tape (100 copies)
Pre-order: https://music-is.bandcamp.com/album/a-day-of-music
Mastered by Amandra
Art direction and design: Maison Sagan
Photo Credit: Alex Rodríguez Santibáñez

@music_is1 
@yolabmi

Premiere: Yolabmi - Alone [music_is]

from KR093:  MimiCof - Distant Symphony
LP / tape / DL out on june 10th 2022

Distant Symphony

MIMICOF - Distant Symphony I (excerpt)

Extract from 'Image Langage' (SP140)
Out June, 24th 2022 on 2xLPs, CD, digital download.

Order: https://feliciaatkinson.bandcamp.com/album/image-langage

—
Opening the window, I look at the light, it connects me to something more vast.

Felicia Atkinson’s music always puts the listener somewhere in particular. There are two categories of place that are important to Image Language: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record—Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy—the landscape is what is waiting for you when you leave the house, and vice-versa. Each threatens—or is it offers, kindly, even promises?—to dissolve the other. Recognizing the normalization of home studios these days, she revisited twentieth-century women artists who variously chose, and were chosen by, their homes as a place to work: the desert retreats of Agnes Martin and Georgia O’Keefe, the life and death of Sylvia Plath. Building a record is like building a house: a structure in which one can encounter oneself, each room a song with its own function in the project of everyday life.

At times listening to Image Language is immediate, something like visiting a house by the sea, sharing the same ground, being invited to witness Atkinson’s acts of seeing, hearing, and reading in a sonic double of the places they occurred. In an aching moment of clarity in “The Lake is Speaking,” a pair of voices emerge out of the primordial murk of piano and organ, accompanying the listener to the edge of a reflective pool that makes a mirror of the cosmos. “I open my feet to fresh dirt, and the wet grass. I hold your hand. You hold his hand. In the distance without any distance. The comets, the stars.” At other times, listening to Image Language is more like being in a theater, the composition a tangle of flickering forms and media that illuminate as best they can the darkness from which we experience it. On “Pieces of Sylvia,” a noirish orchestra drones and clatters beneath and around a montage of vocal images, stretching the listener across time, space, subjectivities. Atkinson says that Image Language is like the fake title of a fake Godard film. There is indeed something cinematic about Atkinson’s work—not cinematic in the sense that it sounds like the score for someone else’s film, but cinematic in the sense that it produces its own images and language and narratives, a kind of deliberate, dimensional world-building in sound.

Image Language is built from instruments recorded as if field recordings, sound-images of instruments conjured from a keyboard, instruments Atkinson treats like characters, what she calls “a fantasy of an orchestra that doesn’t exist.” And then, speaking of Godard, there are the monologues, operating as both experimental-cinematic device and a literary style of narration. Voice can be a writerly anchor or a wisp of a textural presence. Atkinson’s capacious and slippery speech plunges into and out of the compositional depths, shifting shapes, channeling the voices of any number of beings, subjectivities, or elements of her surroundings—not unlike her midi keyboard, able to speak as a vast array of instruments.

Image Language is an environmental record, in the vastest sense of the world. It is about getting lost in places imagined and real; it registers, too, the dizzying feeling of moving between such sites. It puts forth a concept of self that is hopelessly entangled with the rest of the world, born of both the ache of distance and the warmth of proximity.

— Thea Ballard, 02.2022

Image Language

Becoming a stone

FELICIA ATKINSON 'Becoming a Stone' (SP140)

hurt

Metamorphoses

HG1706 - Hallowground.com
Buy the vinyl or digital album here: http://bit.ly/2xwBugg
Distributed by A-Musik and Cargo Rec.

BUY VINYL / DIGITAL

MARTINA LUSSI - Citrin

snf04 : giuseppe ielasi "even when they speak of space" out dec.15th 2017.

music for whistling, microphone and digital degradation. 
recorded in november 2016 and august 2017. 
to be played at low volume.

www.senufoeditions.com

snf04 : giuseppe ielasi "even when they speak of space" part 1

Serge & Mondriaan

The music of Naarm/Melbourne composer Lisa Lerkenfeldt channels a unique wavelength of foreboding, interstitial electronics, incorporating strategies of musique concrete threaded with veiled currents of melody and hypnosis. Recent recordings for Vienna Press, Longform Editions and Aught Void have demonstrated different depths of process and finesse but her latest, Collagen, captures perhaps the most complete and complex manifestation of her craft to date.

Drawing on a disciplined palette of peach wood combs, contact microphones, piano, strings, and feedback, the album moves in low, looming arcs, ascending to strange purgatories of opaque atmosphere. Lerkenfeldt cites a core aspiration to “elevate the everyday,” transforming common objects into otherworldly sound sources, which colors Collagen with a beguiling tactility, like vibrations traced in sand. The tracks shift in frequency and feeling, alternately heady and bodily, acoustic and synthetic, isolated states of static, light, and undertow skirting the outer rings of ambient, noise, and modern composition.

Although each piece exists in its own rare air the composite panorama they present is striking in its sweep and subtlety. Lerkenfeldt's muse seems one of evasion as much as evocation, navigating negative spaces for their subliminal whispers of dread or beauty. It's an aesthetic both ascetic and exploratory, minimalist mirages of resonance, texture, and gravity skewed through the pensive glow of room tone.

But Lerkenfeldt is too versatile an artist for purist restraint, which Collagen demonstrates dramatically in its closing cut, “Champagne Smoke.” A quivering bowed eulogy ebbs under a flickering film of distortion, slowly swelling in sorrow until suddenly the screech goes silent, revealing a murmuring phantom haze hidden beneath the strings, like a specter lost in an abandoned house.

14 Gestures associated with this album will be performed in experimental film and online viewing room of graphic notation at 14gestures.com from 29th July to 29th October, 2020.

Collagen releases on Shelter Press in LP / DL format on August 21, 2020. LP mastered and cut by Kassian Troyer at D+M, designed by Bartolomé Sanson with art by Lisa Lerkenfeldt, housed in reverse-board inner and outersleeve, including a 16 pages limited edition score book.

LISA LERKENFELDT 'The Weight Of History'

>>>FREE PALESTINE 

Something is stirring in the deep. Truly ingenious progression can only be found hidden away.

Events/Podcast/Webzine/Practice

Upcoming_
Archaic Vaults meets zenevloed w/ Flora Yin Wong, Severin Black, Casimir, Jonathan Castro @ OCCII, Amsterdam / POSTPONED

Past_
5 YRS ZENEVLOED:
zenevloed & Janushoved @ OCCII, Amsterdam / 16-09-2022
enmossed meets zenevloed @ OCCII, Amsterdam / 23-07-2022
Vaagner meets zenevloed: A reunion of spheres @ OCCII, Amsterdam / 25-06-2022

Zenevloed V w/ People Skills + Wanderwelle @ OCCII, Amsterdam / 03-09-2021

People Skills @ Operator, Rotterdam / 02-09-2021

Zenevloed w/ Monya @ Red Light Radio / POSTPONED 

Zenevloed w/ Armaxxx + Ex Continent @ Red Light Radio / 22-02-2020

Zenevloed presents OTher Ways of Watching Together: WEEK 3 @ MAMA, Rotterdam / 07-02-2020

Zenevloed w/ Blind Delon @ Red Light Radio / 11-12-2019

Zenevloed IV: Romantic Industrialism w/ Kollaps, unn & Kujo, Shrouds @ OCCII, Amsterdam / 12-10-2019

Garcon Taupe (Enfant Terrible) and Zenevloed w/ TWINS @ Red Light Radio / 26-09-2019

Zenevloed w/ Squaric @ Red Light Radio / 16-09-2019

Neither Here Nor There - Matt Plezier ft. Zenevloed Collective @ Staalplaat, Berlin / 01-08-2019 - 31-08-2019

Zenevloed w/ 3.14 @ Operator Radio / 05-07-2019

Zenevloed w/ Roberto Auser @ Red Light Radio / 18-06-2019

Zenevloed w/ Øliver @ Red Light Radio / 03-05-2019

Zenevloed invites Aufnahme+Wiedergabe w/ Imperial Black Unit, MELANIA @ Red Light Radio / 03-05-2019

Zenevloed w/ Kujo @ Red Light Radio / 25-03-2019

Tonotopic II w/ FUROR, June As, S S S S, Kujo +  installations by RandomZine, S., Sander Polderman, John Jansen @ 52,21,43.3N 4.55.12.8E, Amsterdam / 16-03-2019

Zenevloed w/ 3.14 @ Red Light Radio / 21-02-2019

Zenevloed w/ Michiel @ Red Light Radio / 29-01-2019

Tonotopic I w/ Renata, IGNOTA, Abstractive Mind, Kujo + visuals and installations by unn and RandomZine @ 52,21,43.3N 4.55.12.8E, Amsterdam / 19-01-2019

Zenevloed III w/ Years of Denial, Koichi Shimizu, Meer, FUROR, Kujo @ OCCII, Amsterdam / 02-11-2018
Visuals + short film screening by unn

Zenevloed w/ S S S S @ Red Light Radio / 29-09-2018

Zenevloed w/ Last Days of S.E.X. @ Red Light Radio / 01-09-2018

Zenevloed invites Aufnahme+Wiedergabe w/ Chloé Lula, Codex Empire, SΛRIN, Kujo @ RADION, Amsterdam / 13-04-2018

Zenevloed w/ Chloé Lula @ Red Light Radio / 14-04-2018

Zenevloed w/ Blind Delon @Operator Radio / 29-03-2018

Zenevloed II w/ Eomac 'Bedouin Trax', Divorce Ring, Kujo, Gana, Santoine @ OCCII, Amsterdam  / 02-02-2018

Zenevloed w/ Divorce Ring @ Red Light Radio / 03-02-2018

Zenevloed w/ S.A.F. @ Red Light Radio / 20-12-2017

The Tide__De Vloed @ OCCII, Amsterdam / Internazionale, Isorinne, Sequences, O Ratel Ratel, Svartvit, Kujo / 24-11-2017

Zenevloed w/ Kujo @ Red Light Radio / 27-09-2017

EXIL x Zenevloed @ Panama, Amsterdam / J.Tijn, Manni Dee, Remco Beekwilder, Vlaysin (live), SCRY + Théophiluss / 13-05-2017

Zenevloed I @ Cinetol, Amsterdam / Drvg Cvltvre, Kujo and Santoine (all live)
NOACH (dj set) / 24-03-17

Zenevloed invites Raven Sigh 28-10-2016 @ Q-Factory Amsterdam / Bone Skippers, Matt TdK (msq), Falhaber, UNDUST, NOACH, SCase / 28-10-2016

contact: music@zenevloed.nl

Premiere: Yolabmi - Alone [music_is]

zenevloed

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