Oo I like this song. Very interesting sounds

flores live at ask a tree, 10.09.21

Happy to welcome @rosebonica to the family with this limited cassette release !!!

Waiting For Change

Buy  ʕ •ᴥ•ʔ  ☜

Rose Bonica - Waiting For Change - TAJR018

This was originally issued in a pic disc LP boxset in an edition of 250 as part of the Prints of Darkness exhibition at Edinburgh Printmakers. This exhibition is still touring and LPs can be purchased from Edinburgh Printmakers.

"People Like Us illuminates this dark visual ride with ‘This Is Light Music’, an exclusive full-length picture-disc album in a limited edition of only 250. This record is available as part of a lavish limited edition boxed-set publication which houses the record and a pull-out poster in a gatefold sleeve, and includes essays by People Like Us and co-curator Norman Shaw. This publication is on sale throughout the exhibition, together with specially commissioned t-shirts and badges by the participating artists."

People Like Us - This Is Light Music - "Lavender White"

Although living in separate European countries, Akama (electronics) and Duplant (organ, electronics) have forged a strong musical bond on a handful of collaborative releases, often with titles related to nothingness, which, in turn, mirrors the minimal, contemplative drone pieces contained therein. As its own titling suggests, immobilité (“immobility”) extends their musical concerns, and distills them in an extraordinarily rich way. More textural than event-based, these pieces are exquisitely paced to complement their roomy, crackling palette. Starting from two points—Duplant’s minimal score and his own parts—Akama reaches for more synthetic sounds than she has in the past. Duplant has resisted being labeled as a Wandelweiser composer. There is an element here that’s more personal to this duo, even down to the ticking of a clock. immobilité is a purposeful new statement from two artists who enthusiastically acknowledge their musical kinship.

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Ryoko Akama / electronics
Bruno Duplant / organ, electronics

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Fue Akama - Drawing
Layout by E. Lindorff-Ellery
Printed by Fitzgerald Letterpress

NTR026 - Ryoko Akama & Bruno Duplant - Immobilite - 01 "L'immobilite (n'existe Pas)"

Recorded live, this album presents Lonberg-Holm in an intimate relationship with his cello, beautifully recorded by Joaquim Montes at Studio Namouche in Lisbon. Using a variety of extended techniques, he conjures a barrage of multiphonics, interwoven timbral excursions, and minuscule textural knots lined along the peripheral architecture of these pieces. Lonberg-Holm alludes to his music having a non-denominational devotional presence in his life, and this relationship is evident in these deeply personal improvisations. This is visceral playing: heavy, dry, honest, and unpretentious. Lonberg-Holm has performed in an exceptional number of free jazz and free improvised ensembles, not to mention with a variety of indie rock bands; one can hear this experience permeating the seasoned playing in these recordings.

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Artist's statement:

"Over the years, I have made a number of solo recordings, some in studios such as the now demolished Airwaves in Chicago and the first ESS location (now gone as well), some in concert halls (e.g., Mills College), some outdoors (my father’s farm in central NY as well as the Florida Everglades), and a few at various homes I have lived in. Location has an obvious impact and my long and affectionate relationship with Lisbon inspired me to want to make a solo document there. I have recorded with a variety of projects at Studio Namouche in the Benfica neighborhood of Lisbon and love it. That was where I wanted to make this solo recording.

Anyone who has been to Namouche knows it is a magical place. A faded version of its once probably grand self, Namouche is a sort of small RCA studio A that somehow survived the tumults of the recording industry; it still has the right proportions and materials on the walls, floor and ceiling. Add in good mics, a mixing desk, and the very capable ears of head engineer Joaquim Montes and it’s about perfect.

I’ve described the cello as a “four string busy box” for many years but only recently did I realize it also acts as a “safe space” for me. Although the outcome of pressing the various levers is more unpredictible on a cello than a busy box, I still feel that if I follow the material where it wants to go, nothing can go wrong. It is an act of faith.

For many years, “religious” music has been a source of entertainment and inspiration for me. In spite (or because?) of my lack of religious identity I find beauty in many types of music for worship. Over the years, at different times, I have been obsessed with Hindu, Muslim, Christian, Jewish and Buddhist musics, sermons and chants. While I sometimes fantasize about making a record of religious music, the only faith I can claim to have any real relationship with is Christianity and a recording of Christian music might be misunderstood so . . . I refrain. Instead, I like to think that my solo cello improvisations are a kind of non-denominational devotional music.

During the period when this was recorded, I was listening a lot to Alfred Reed. He seems to favor a very low A (almost A flat) and I experimented with tuning my cello down as a result. Some of the tracks are at that lower pitch and others are closer to A440.

Namouche has a very fine grand piano and a number of other excellent keyboards. They also have some derelict pianos. Most noticeable are the two in the front vestibule and the one in the live room. The short piano pieces were recorded using only the piano in the live room. Because such wrecks aren't found in most good studios, I couldn’t resist playing it. The juxtaposition of a derelict instrument and an incompetent pianist in a great room with excellent equipment was simply too good to pass up."

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Fred Lonberg-Holm / cello, unprepared piano

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Recorded March 21, 2019 by Joaquim Montes at Namouche Studios, Lisbon

Mastered by Branic Howard, Portland OR

NTR059 - Fred Lonberg - Holm - "Lisbon Solo"

R000000M - 01/12/2021

a short excerpt off new hour long piece of  ringing singing piercing insect psycho acoustics

about:

the main insect featured here is the first one that drew me to another world, through its sound. a piercing high ringing frequency that seems to go on and on, often alternating with a slower, winding kind of motion, until the sound rises, peaks and drones again. some of these cycles are short, a minute or two a round, others seem to go for an hour, their winding down phase often partly silent; many play in 10 to 20 minute cycles. their song can differ from one region to the other, like dialects. their sound can be heard for miles. it’s ear-splitting loud when you’re close.

i’ve been wanting to do this piece for a long time, maybe since i returned from my first half year in thailand, early 1995. one recording herein is from then.

mostly i don’t see these musicians. many locals all over south east asia told me that these are cicadas. a few others gave other names. i never verified any further. i hear individuals and tribes, not really species. besides, there are all sorts of sonic individuals in these recordings, and i don’t think they care much about what we call them.

recorded in thailand, vietnam, indonesia and south africa, most of these are daytime sonic activities, one is nocturnal. all play in hot climates, frequently during the hottest time of day. two are desert inhabitants (kgalagadi), the others live in the humid heat of tropical rainforests.

i often wonder what goes on in these creatures when they’re playing. when they sing or stridulate, or whatever you want to call it, it’s vibration, it’s ongoing, repetitive. it’s being in the very immediate here and now. the common scientific explanation is “mating call” (another scientific favourite is “territorial call”). this may explain one of many reasons, but reasons apart from “functional” ones seem excluded.

i could imagine these singing ringing cicadas create trance states. like being high on life, ultimately immersed in the present moment and their immediate surroundings and celebrating it. maybe their sound creates altered states of consciousness also in other beings.

immersion - to be part of something

assembled jun ’21 - jan ’22 in zug and brugg, switzerland
dedicated to the most important beings on this planet - insects
alternate headphone listening is recommended
www.davephillips.ch

cicada trance (excerpt)

FRKTL is the solo experimental music project of interdisciplinary artist and composer Sarah Badr. FRKTL's work pays particular attention to the narrative and sentient qualities of sound, often drawing inspiration from sources in ancient mythology and literature. As a classically trained multi-instrumentalist, FRKTL uses live sampling and improvisation, vocal manipulation, field recordings and generative rhythms to compose and create emotive, immersive explorations of sound. Her sound piece lives in different spaces of the exhibition, producing a looping soundtrack that surrounds other pieces and amplifies the sensorial qualities of the exhibition. The circular temporality of sound also enables a delicate and welcoming suspension of time by blurring our sense of a beginning and an end.

Second mutation soundtrack by FRKTL

If She Exists

Electronic artist and producer @jdotbalance, DJs as a creative task to help generate the music that they are putting out into the world. With a latin-centered ethos, they are inspired by a wide range of influences such as breakbeat and leftfield, to neo-perreo and techno sonics to create their own unique sound. While working on their own personal music, they also currently run GUD4U Radio on Soundcloud which puts out mixes for DJs/producers spanning from all over the US, Mexico, South America, and Europe. You can catch them spinning at various events this summer throughout Chicago, with a GUD4U event series on the way as well. With jd0tbalance’s debut EP ‘High Exposure’ with label Fixed Rhythms set to release July 29 and another EP planned for the fall, we are certain you will want to set your ears on all the music they have coming your way.

Words - Caleb Foland
Cover Design - Jada Milazzo
Photo - Asha Rahaylia

Jdotbalance @ Happy Hell 05-06-2022

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