Helm, "Saturnalia" and "Oregon Crisis"

Saturnalia was recorded live at 9am during the closing moments of Saturnalia festival in Macao, Milan. Also on the bill was Teresa Winter.

Saxophone samples courtesy of Karl D'Silva. String samples originally recorded by JG Thirlwell at 30 Below, NYC.

Oregon Crisis was recorded live at Holocene in Portland, Oregon whilst on tour with Blanck Mass and Steve Hauschildt.

Saxophone samples courtesy of Karl D'Silva. String samples originally recorded by JG Thirlwell at 30 Below, NYC.

More information can be found here.

 

 

2785 Hits

Cucina Povera, "Tyyni"

Tyyni main photo

Tyyni is the third album by Finnish-born sound artist and musician Cucina Povera aka Maria Rossi. The second album recorded using a more studio-based scenario – as opposed to last year's Zoom, a collection of in-situ, spontaneous recordings– Tyyni feels like a slowly unfurling mediation on the clash between nature and mechanical living, a rumination on the complexities of modern life that begin to unveil more about the inner landscape of the artist as it progresses.

A Finnish word referring to still, serene weather, the title belies a new note of turmoil in Cucina Povera's soundworld. Tyyni represents a more detailed focus on the sculpting of sounds that curl around Rossi's hymnal vocal performances. It's a more adventurous work than Rossi's previous output that goes further into noise elements and vocal abstraction while maintaining the balance and ecclesiastical ecstasy of her debut Hilja.

While tension at the core of Cucina Povera is always prevalent, previously it was organic sounds that were used to counterpoint Rossi's singing but on Tyyni these are often replaced with aggressive synths and distortion, profane clashes with the seemingly sacred hymns. Whether close mic'd and intoning in a loop or in full flight, Maria Rossi's voice remains in the foreground, set here against a more synthetic backdrop. This development builds new worlds for Cucina Povera, a digital environment which brings in a sense of the alien for Rossi's vocal to duel.

For an artist with such a singularly unique musical language, Cucina Povera is continually teasing new strands and emotive tones from an evolving palette. Most importantly, Tyyni appears to be pulling back the veil to uncover an artist finding a synergy between her own emotional inner world and practice. As such, on her third album, Maria Rossi has found a third way between abstraction and extraneous emotion, personal experience turned inside out to reveal more about the listener.

More information can be found here.

2765 Hits

TALSounds, "Acquiesce"

Acquiesce main photo

For an artist whose career is almost entirely improvisational, TALsounds has refined a stunning style of music that sounds as meticulous as it does surprising. Since picking the moniker nine years ago, Natalie Chami has been flitting between experimental electronica, mood-driven minimalism, and classically trained choral singing as a solo artist in Chicago. On her fifth album, Acquiesce, she dives inward without constraints and invites the listener to do the same, to lose track of time, and to let emotion dictate what happens next.

Chami is a DIY staple within Chicago’s electronic scene as a solo artist, a member of Good Willsmith, and a frequent collaborator of Brett Naucke, Matchess, and others. Over the years, she's honed her skills onstage, particularly her ability to block out what’s happening around her to instead focus on her subconscious, letting it guide where she steers each song. Whether she’s opening for Merzbow or Mary Lattimore, Tim Hecker or Tortoise, Mdou Moctar or Kaitlyn Aurelia Smith, Chami is adept at fitting the unique vibe of each concert despite never actually deviating from her music’s core sound — a prime example of her percipience and sense of control.

Recorded at home as improvised sessions, Acquiesce is a fluid extrapolation of her thoughts, worries, and stresses, later trimmed down and reformatted into songs. Chami treats her voice like an instrument that breathes calm into interwoven electronic parts, often leaning into vowels instead of phrases, particularly the tall, forward sound of "i" words like "time," "find," and "decide." Performed entirely by Chami and produced by Cooper Crain (Bitchin' Bajas, Cave), Acquiesce is full of entrancing moments, be it the trumpet-like call in "Muted Decision," the typewriter beat of "Instance," the flickering vocals in "Else," or the alien-like glitching of "Dynasty." It picks up from the stirring sounds of her 2017 record Love Sick—named one of the best albums of the decade by Chicago Reader—and closes its eyes, as if in meditation, to reflect on what’s next.
"For me, it’s not about recording; it's about playing,” says Chami. "It's therapeutic, but sometimes I feel more weighted after I finish. It's like playing gets me to confront whatever I'm thinking about, even if I don't always find an answer."

The clearest example of improvisational healing in real time is "No Rise," an overlap of aquatic keys and shimmering synth trills. "No rise / there is no rise, I say / I'm breathing by my strength," she sings, repeating the phrase as if slowly counting down. "Breath is what gets you through anxiety attacks. Even when you feel your weakest, you’re able to find some control," explains Chami. "It's weird to read the lyrics afterwards and see what I said, because when I'm in the moment, I don't always realize what I need to say until after I've said it."

TALsounds made a name for herself within Chicago’s DIY electronic scene for her innate sense of feeling, flow, and fascination. With Acquiesce, she demonstrates not just how hypnotic her music is or how stirring her vocal range is, but how these two combine naturally for her as an improvisational artist — and she's poised to break out nationally because of that.

Acquiesce will be released on vinyl and digital formats on May 22, via NNA Tapes.

2560 Hits

Ak'chamel, "The Totemist"

First vinyl release of Ak'chamel after a prolific cassette discography, The Totemist marks a new direction for the mysterious group. Equipped with studio quality recordings and a (somewhat) lighter tone, as opposed to the oppressively lo-fi sound the group is known for.

This is a deep psychedelic-folk album with hints of mysticism, some of which was written and recorded in a ghost-town in the Chihuahuan Desert in far West Texas - a place where the dead outnumber the living. Various overdubs and field recordings were captured in the historic Terlingua cemetery : an ancient burial ground filled with small grottoes and graves made of sticks and stones. This being the final resting place for miners who succumbed from illnesses derived from the toxic rare-earth element known as mercury.

More information can be found here.

2956 Hits

Patrick Shiroishi, "Descension"

A harrowing layered work of solo saxophone and electronics, Descension is at once beautifully elegiac and unflinchingly primal. Patrick Shiroishi is one of the key artists to emerge from the current L.A. free improvisation avant-underground; his first vinyl release is a spiritual journey that reveals his deeply reflective and unique musical vision. Descension is a sonic meditation on the legacy of a dark history and its echoing relevance in the present era.

More information can be found here.

2886 Hits

Noveller, "Arrow"

Creating what Iggy Pop described to Jim Jarmusch as "symphonies for people that don't have a lot of time," Sarah Lipstate has emerged as an innovative and defining voice in the world of music under the name Noveller. Wielding a guitar as her main instrument, Lipstate has pioneered a transcendent approach to composition through her mastery and integration of effects pedals and technology. Forming unexpected sonic routes, her songs are vivid and cinematic, telling intricate tales with each tone and swell.

Raised on a strict piano technique, the discovery of the guitar late in her teens allowed for an escape from formalism and unlocked the hidden realms of her creativity. Taking an anti-theoretical approach, suddenly music was no longer a series of notes, rests, and time signatures, but a means of intuitive expression. Her deepened interest in experimental music, fueled by the discovery of the bold noise of Sonic Youth, the epic scope of Glenn Branca, the delicate formularies of Brian Eno and the no wave discordance of Teenage Jesus & The Jerks, only furthered to inspire.

A yearning to explore and feed that creativity took her from Louisiana to Austin, then Brooklyn to LA. Arrow is her first album since the move to the edge of the canyons of Los Angeles, and you can hear the destabilizing effect this had on her in the music. Out of her comfort zone in a new city, with a rolling expanse in front of her and an urban sprawl over her shoulder, Lipstate built her new album as she contemplated this change in her life.

The resulting record feels as if it is filled with dreamscapes and contemplation intersecting with tension and drama, a journey that plays out over its dynamic sequence. Tracks like "Effektology" open up like a vivid view of the night sky, before the darkness settles in and envelopes you, finally quieting your racing mind and bringing about much needed slumber. "Canyons" pings about and stings at the mountainside with its syncopated melodic echoes. "Pre-fabled" walks you straight into the crashing ocean waves like a desperate cleansing. A mournful "Remainder" closes the proceedings, steadying itself for what the future might hold.

With her ability to add such unique sounds and textures, Lipstate has been sought out as a frequent collaborator, recently writing songs with Iggy Pop and performing as a member of his band on his worldwide tour. Past partners in crime have ranged from JG Thirlwell to Lee Ranaldo and she has performed as part of Rhys Chatham's Guitar Army, Nick Zinner's "41 Strings," Ben Frost's "Music for 6 Guitars," and Glenn Branca;s 100 guitar ensemble. She has also toured in support of big fans in St. Vincent, Wire, U.S. Girls, The Jesus Lizard and Helium.

Those prized abilities have also led her to her being a leader in the conversation around the gear that has unlocked the full range of her abilities. As she began posting videos of her explorations to social media, a dedicated and inquisitive audience emerged and continues to grow, as she appeared in magazines and documentaries. With Arrow, Lipstate has emerged with an album that is sure to delight and challenge all of her followers, as that fanbase widens further.

More information can be found here.

2769 Hits

Current 93, "Horsey" and "Sleep Has Its House" expanded reissues

Horsey & Sleep Has His House come in the form of expanded DLP and 2CD editions, remastered from the original analogue and digital master tapes, including previously unreleased mixes and versions of classic songs.

David Tibet, writes of both albums:

"Born after the Death of my father, SLEEP HAS HIS HOUSE was a Threnody and a Requiem to him and a series of blinks at the passing of TREE and BIRD. Down by the River, Beside the Water, and none of these run ETERNAL, except the Immortal Bird, as high as sky. Now, in BED with House of Mythology, C93 are OverMoon to SLEEP again."

"My one Leg was in Tokyo, and my other Leg was in London, and I watched in Horror the Horsies rage by and I flew by and the Corn waved and the Trees bowed. This was BaddenedBlackenedTime, as I watched friends spin down and fall and fall—it is hard to keep riding when the structure is sliding. So that’s what I called HorseyTime, and I can still hear their fear. Now, in SADDLE with House of Mythology, C93 are OverMoon to RIDE again with this extended reissue."

Each 2xLP set is released as a limited edition in colored opaque vinyl, as well as a standard edition in a different-colored transparent vinyl, with both editions packaged in a single sleeve with a thicker 5mm spine. There is also an accompanying lyric-insert, as was the case when Sleep Has His House was originally released.

The 2xCD is packaged in a gatefold mini-LP sleeve with deluxe card sleeve, containing a lyric booklet.

More information can be found here.

3169 Hits

Teleplasmiste, "To Kiss Earth Goodbye"

To Kiss Earth Goodbye, Teleplasmiste's second full album, sees their sound-vision expanding and deepening, phantasmally and fantastically, opening onto thrilling new vistas of euphoria. The music is informed by a deep awareness and respect for prior esoteric traditions and counterculture currents, but forges a new and fertile synthesis very much its own.

The mesmerizing cover art is by spirit painter and medium Ethel Le Rossignol, whose 1933 book of spiritualist teachings lends its name to the album’s second track: "A Goodly Company." Another composition, "An Unexpected Visit," incorporates a previously unheard trance recording of occultist Alex Sanders (aka the UK's "King of the Witches"), made by Sanders himself in the 1980s.

More information can be found here.

2711 Hits

Cremation Lily, "The Processes And Instruments Of Normal People" remastered

ALTER presents a remastered edition of Cremation Lily's second album, on vinyl for the first time. Recorded whilst living in Hastings and originally released as a double cassette on his Strange Rules label in 2017, The Processes… forms a trilogy of albums in the CL canon that were influenced by the life and atmospheres within British coastal towns. Composed using a rudimentary set-up of synth, drum machine and two modified walkmans, CL draws upon a broad range of influences from the underground electronic music spectrum. Noise, tape music and ambient techno are all referenced and align to form a cohesive collection of tracks, flowing fluidly in sequence. Melancholic synth pads and deep kick drums intersect with crude field recordings and occasional bursts of feedback, evoking a claustrophobic uncertainty that feels more like being pulled under than carried above.

Features additional piano and violin by Theodore Cale Schafer.

More information can be found here.

2507 Hits

Seabuckthorn, "Through A Vulnerable Occur"

Through A Vulnerable Occur is the result of a dialog between the photographer Sophie Gabrielle and the musician Seabuckthorn, initiated by IIKKI, between June 2019 and February 2020.

The complete project works in two physical imprints:
a book and a disc (vinyl/cd)

it should be experienced in different manners :
the book watched alone
the disc listened to alone
the book and the disc watched and listened to together.
___________________________________________________
Seabuckthorn is an alias used for the solo work of English acoustic guitarist & multi-instrumentalist Andy Cartwright since 2009.

He uses finger picking & bowing techniques combined with various open tunings to form a mixture of approaches, often with layered accompaniments. Generally the songs lean towards to the experimental genre, whilst on the edge of the ambient and folk.

Through A Vulnerable Occur is his 9th releases.
____________________________


Sophie Gabrielle is a Melbourne based contemporary photographer and curator working in both analog and digital mediums. Graduating from Photography Studies College, Melbourne in 2015, she has been one of the Lensculture Art Awards finalist in 2018, then Foam Talent winner in 2019. Her work has been exhibited in Australia, Malaysia, New York and the UK. Through her fine art practice, Sophie has channeled her interest in mythology, spiritualism and psychology to create poetic works that reflect our sense of self, place and the ambiguity of memory. Her works are an exploration into the world of the unseen, through optics, chemical interactions and the investigative processes used to photograph something invisible to the naked eye.

More information can be found here.

2454 Hits

Zeitgeber, "Seventeen Zero Four"

Zeitgeber - Seventeen Zero Four

Five years on since their last joint outing in Stroboscopic Artefacts Monad series, Speedy J and Lucy team up again as Zeitgeber on Seventeen Zero Four, a new three-tracker descending deep into the filthy, tenebrous outskirts of club music. Torchbearers of techno as a life-affirming vehicle for human expression, as can be experienced through their multi-dimensional back catalogue of solo records and shared extended performances at some of the finest clubs and festivals around the globe, it's safe to say Jochem and Luca share a certain taste for taking things off the beaten path and into new perspectives. True to their bold approach towards production, "Seventeen Zero Four" proudly continues the pair's tradition of chiselled floor-focused shifts and divagations outside the ring-fenced domain of no-nonsense 4/4 mechanics initiated on their self-titled debut album in 2013.

Drawing first blood, the title-track "Seventeen Zero Four" submerges us in a state of amniotic solitude as hell’s all set to break loose around. Sonar bleeps drip and dissolve across invisible plateaux as thunder rumbles and roars in the distance, mirroring and shattering all linearity between the bars. "One Zero Five" then implements a further straightforward groove, sequenced hats and kicks carving out a more familiar scenario for the dancers to appropriate, whilst maintaining that oddball, slightly off kind of minimal, dubbed-out blur. Rounding off the package, "Twenty Zero Two" throws further jazz into the mix, letting its sine curves hula hoop into the upper layers of the outer-audio-space as a shrewdly engineered industrial swing drops the hammer for an epic last stretch.

More information can be found here.

2635 Hits

Klara Lewis, "Ingrid"

Ingrid cover art

Following 2018's acclaimed collaboration with Simon Fisher Turner, Care, Swedish sound artist Klara Lewis returns with "Ingrid", her third solo release for Editions Mego.

Ingrid is a departure from Lewis's previous solo outings, drifting from the eerie rhythmic variations of Too and Ett and moving assuredly into long-form experimentation. The piece retains those records' pulsing core and builds on a single cello loop that is steadily enveloped by a surge of distortion. It's almost like a voice or chant, shifting pointedly from a whisper into a scream before singing peacefully into the light.

At times, Ingrid reminds of William Basinski's looping melancholy or Steve Reich's controlled and innovative phase experiments, while at others, it recalls the chaotic Scandinavian physicality of black metal. Yet the entire composition is anchored in Klara Lewis's distinct emotional world. By dissolving familiar and beautiful strings in baths of noise, Lewis allows something violent but tender to grow in its place. In a society struck through by cynicism, Ingrid is a cathartic listening experience and a beacon of hope.

More information can be found here.

2541 Hits

Aria Rostami and Daniel Blomquist, "Sketch For Winter VIII: Floating Tone"

Sketch for Winter VIII: Floating Tone main photo

**The eighth installment in Geographic North's long-running Sketch for Winter series, which highlights compositions intentionally crafted for the colder season.**

Unsung heroes of the ambient underground, Aria Rostami and Daniel Blomquist have quietly created some of the most aurally alluring sounds released in the past five years. And although that time has solidified the duo's prowess of production and tenacity of texture, it has also shown its share of disruption and disorder. Having met and recorded all of their past works together in San Francisco, Sketch for Winter VIII: Floating Tone marks the first release made by the pair apart, with Rostami’s recent move to Brooklyn. But rather losing touch or stalling collaboration, the duo’s bond only grew stronger.
Rather than perform live improvisations in the same room, Rostami and Blomquist repeatedly passed material back and forth to be altered over time - sometimes involving extensive alterations, and others barely none. The result brings an astoundingly varied mix of melody, texture, and movement.

"The Sloping Tower" seeps into focus in a haze of pristine clatter, celestial chords, and synthetic detritus. Distant disembodied voices appear through rippling waves of melody, leaving only a tapestry of tattered sound. "The Sleeping Floor" meanders with a nocturnal melody that lulls and placates with a deft, delicate touch. A-side closer "The Guessing Hand" cultivates a seething but subtle soirée of nonchalant noir, suggesting some solemn and forgotten subterranean piano bar.

"The Running Glass" wafts in a cloud of blissful warmth, backlit with dimmed glee and neon vibrancy. "The Sinking Tone" turns the focus back to our piano, heaving in a lush and all-consuming storm of shimmering texture and noise. "The Floating Table" closes things out with utter resolve, reflecting on the receding action and dabbling in some amorphous beauty.
It's a powerful new chapter in Rostami and Blomquist's journey that solidifies their past and suggests endless opportunities ahead.

More information can be found here.

2603 Hits

Louise Bock, "Abyss: For Cello"

Sketch for Winter VII - Abyss: For Cello main photo

**The seventh installment in Geographic North’s long-running Sketch for Winter series, which highlights compositions intentionally crafted for the colder season.**

Louise Bock is the nom de guerre of Taralie Peterson, a venerable veteran of the American avant-garde. Whether solo or together with Ka Baird as Spires that in the Sunset Rise, Peterson has spent nearly two decades exploring the outermost limits of ecstatic, free jazz-influenced improvisation. The sonic range of Peterson's opulent oeuvre is matched only by the variety of instruments she employed, including but not limited to voice, saxophone, clarinet, guitar, banjo, lap harps, mbira, spike fiddle, and so on. Now, under the sobriquet Louise Bock and focusing solely on the cello, Peterson returns with Abyss: For Cello, a profound work of considered minimalism composed during and intended for the dead of winter.

Deciding to focus entirely on the cello, Peterson rid herself of any other self-imposed rules, analysis, and judgment that ultimately unlocked unforeseen revelations. Opener "Horologic" offers a sustained seethe of heaving, serrated textures. "Jute" offers a dynamic run of striated tones that slowly dissolve into a pool of peaceful resolve. "Actinic Ray" brings a kaleidoscopic blur that offsets heaving lurches of chordal sound with almost acrobatic flecks of melody. "Oolite," featuring Kendra Amalie on guitar, is an engrossingly unsettling piece of auditory hysteria, balancing a fascinating and fine line between allure and aversion. Closing track "Prithee" prolongs a potent interplay of deep, dense resonance and exquisitely elegant static.

Through these ruminations, Peterson's cello exposes immense beauty, sorrow, and joy that is altogether deeply hypnotic and discreetly haunting.

More information can be found here.

2664 Hits

Maggie Payne, "Ahh-Ahh" and "Arctic Winds" reissues

Maggi Payne – Ahh-Ahh LP

Originally composed by Maggi Payne between 1984-1987 for the performance group Technological Feets. Formed by video artist Ed Tennenbaum in the San Francisco Bay Area in 1981, the group combines dance, live video processing and music.

Ahh-Ahh was first released in 2012 on Root Strata. Composed on an Apple II computer & various early sampling devices, Payne's compositions are a vibrant response to the call from the moving body. Populated with buoyant pulses, graceful analogue swells, dense fog-like drones and cascading rhythms that shift in space, Ahh-Ahh is a vital document of not only these early collaborations, but of computer based music as well. She studied with many greats in the field, including Gordon Mumma, Robert Ashley & David Berhman.

Maggi Payne - Arctic Winds 2xLP

Fully immersive electronic music by US composer Maggi Payne, inspired by the arctic winds. Maggi Payne's sound worlds invite the listeners to enter the sound and be carried with it, experiencing it from the inside out in intimate detail. The sounds are almost tactile and visible.

The music is based on location recordings, with each sound carefully selected for its potential—its slow unfolding revealing delicate intricacies—and its inherent spatialization architecting and sculpting the aural space where multiple perspectives and trajectories coexist. With good speakers, some space in your schedule, and a mind-body continuum willing to resonate with Payne’s electroacoustic journey, but then it will take you to places that other music can’t reach.

From the sounds of dry ice, space transmissions, BART trains, and poor plumbing she immerses the listener in a world strangely unfamiliar. Maggi Payne is a composer, video artist, recording engineer, photographer, and flutist and is Co-Director of the Center for Contemporary Music and a faculty member at Mills College, in the San Francisco Bay Area.

More information can be found here.

2758 Hits

Laurin Huber, "Juncture"

Laurin Huber is a prolific figure in the Swiss underground for experimental music and arts. He has been active as a musician and producer in a slew of projects like Wavering Hands, Frederik or legendary Swiss institution Krankenzimmer 204. Having just released his first solo release under the R.E.R. moniker on the label Edipo Re, co-founded by Huber and frequent collaborator Rolf Laureijs in 2016, he now presents his first album under his given name.

Thematically, Juncture is perfectly in line with Huber’s approach of thinking globally and acting locally. Highlighting the singularity of specific musical concepts while embedding them firmly in a collaborative network has been the crucial guiding principle in his work for Edipo. The four tracks on Juncture aim to work with "superimpositions, interactions, interferences and modes of co-existence," as Huber explains. "I'm generally interested in thought that tries to look at the world beyond dualisms," says the artist. "Contemporary feminist theory and philosophies of difference, the critique of dualities such as nature/nurture, body/mind, object/subject or anorganic/organic are therefore important reference points."

On a musical level, this means working with overlaps and interfering layers, field recordings as well as synthesizers and the experienced drummer's knack for intricate rhythms. Over the course of more than half an hour, the producer brings together dreamlike synthesizer pieces with stripped down mid-tempo techno pieces, feverish echoes of industrial music and swelling sounds that are juxtaposed with subtle rhythmic counterpoints. In a world in which dualities reign and polarization increases both socially and culturally, Junction serves as an invitation to deconstruct binary thinking by affirming the coexistence of allegedly opposed elements. It does so with striking emotional ambiguity, sometimes lulling in its audience with soothing sounds and in the next challenging them with an ominous atmosphere.

More information can be found here.

2491 Hits

Ellen Fullman, "In The Sea" reissue

In The Sea by Ellen Fullman

Ellen Fullman began developing The Long String Instrument in her St. Paul, Minnesota studio in 1980 and moved to Brooklyn the following year. Inspired by composer and instrument builder Harry Partch, Fullman's large-scale work creates droning, organ-like overtones that are as unique in the world of sound as her vision of the instrument itself.

Along with her 1985 debut album – appropriately titled The Long String Instrument – Fullman's only output in the 1980s would be two self-released cassettes, In The Sea and Work For Four Players And 90 Strings, recorded in 1987 at an unfinished office tower in Austin, Texas. This double LP collection features music from both cassettes as well as a previously unreleased piece from 1988 at De Fabriek in Den Bosch, Holland.

Ethereal and exquisitely paced, these rare recordings capture minimalism's quiet radiance. Within a musical landscape that has seen the rise of contemporary drone practitioners like Ellen Arkbro and Kali Malone, Fullman is sure to find a legion of fans.

Superior Viaduct is honored to present this long overdue archival release that marks a particularly vibrant period of Fullman's pioneering and timeless work.

More information can be found here.

2362 Hits

Diamanda Galás. "The Litanies of Satan" reissue

Diamanda Galás' debut album The Litanies of Satan, originally released on Y Records in 1982, is reissued on the artist's own Intravenal Sound Operations label in LP, CD and digital formats. The album has been meticulously remastered from the original Y Records analogue tapes by Diamanda and engineer Heba Kadry and features the original classic artwork of that release.  Vinyl includes poster.

This the first release in a new reissue campaign since Diamanda regained ownership and control of her entire catalogue in 2019.

-"The Litanies of Satan" (from the poem by Charles Baudelaire)
Devotes itself to the emeraldine perversity
of the life struggle in Hell.

-"Wild Women with Steak-Knives"
(from the tragedy-grotesque by D. Galás "Eyes Without Blood")
Is a cold examination of unrepentant monomania,
the devoration instinct, for which the naive notion
of filial mercy will only cock a vestigial grin.

More information can be found here.

2462 Hits

Longform Editions 12

Longform Editions, the Sydney-based collective for deep listening begins 2020 with its 12th edition, once again featuring four diverse artists creating immersive experiences in sound composition attuned to ideas of deep listening. Now featuring 48 artists in total, Longform Editions has become a space for exploration: for the pure aesthetic of sound, reclamation of time and concentration. Longform Editions seeks to offer a way to navigate the overlap between physical experience and digital space.

We’re excited to present new work from Berlin-based Australian Jasmine Guffond, prior to her upcoming full-length on legendary label Editions Mego. Her heady, fascinating Current Harmonics mimics the motion of falling water using frequencies generated by the electricity powering a hydroelectric dam:

"Deep Listening for me is to focus uniquely on sound, and thereby on the moment. Akin to an alternate state of consciousness perhaps not unlike forms of meditation"


Feted by Pitchfork as "standard-bearers of globe-trotting ambient and psychedelic techno," long-running Belgian collective Pablo’s Eye contribute Tentative d'épuisement d'un lieu parisien, a trance-inducing meditation on urban observation through the work of writer Georges Perec's vision of Paris:

"The city with its social life can be perfect for a deep listening experience . . .  the signs, symbols, and slogans littering everything; and the darkness that eventually absorbs it all"


Botany is the recording project for Austin-based producer Spencer Stephenson, refracting his sound collages through psychedelic folk, spiritual jazz, kosmische. His Fourteen 45 Tails records and loops the final downbeat of 14 thrift shop-bought singles into a mesmerizing tapestry that muses on our perceptions of time and finality through sound:

"Fourteen 45 Tails is made out of the final moments of fourteen records that once belonged to people who’ve long since lived - or from another perspective may still be living - their own final moments."


Finally, Florida's Josh Mason’s gorgeous, searching ‘Aumakua makes for a very personal reflection, amplified into universal themes of family and loss. With his trademark poise and nuance, Josh traces a spiritual line around the life and death of his grandparents, lifting their memory out of the cold reality the end of existence often signals. ‘Aumakua is the interrelation of sound and listening to foster profound connection:

"Extended and intimate time with sound, either internal or external, allows one to sidestep the juggernaut of frenetic activity in modern life. Immersive listening can broker trades of emptiness for enrichment; isolation for connection."

More information can be found here.

2576 Hits

Racine, "Quelque Chose Tombe"

Hidden in plain sight, grinning through worry, living in insecurity – modern society has returned to a day-by-day race for survival. To be vulnerable is the new normal; afraid, a bare minimum. Something was bound to emerge from the quiet throngs of the new precariat, and Racine is such a voice, setting to music those modern lives defined by uncertainty.

Quelque Chose Tombe ("Something Falls") is a set of compositions that confronts demons both inner and outer head-on. Created during a period of necessary unemployment somewhere in Montreal – caring for one's health can take precedence over work – the music is both a grotesque dance of the goblins and the gentle opiatic breath of the protectors. It's a harrowing reflection of the prevalent vampiric hypochondria forcing a generation into fatigue.

The sounds crawling out of Racine speak with their own internal logic. Snippets of fractured tunes creak through perturbed post-digital soundscapes, blurred and fragmented along the way into haunting amorphous instrumentals. The two-part title track is multi-part sonic maze where raven-like pitch-bent notes gather, a broken rave theme punctures its way through bass fog, and silence clefts the music in two, ushering in a coda of heartbroken ambience. As the album's suite progresses, Racine shepherds mutant melodic themes in and out of earshot, like clear thoughts bringing temporary order to a state of emotional panic and withdrawal. A host of other sounds too – voices and birdsong, cybernetically deformed – populate Racine's scarred productions.

Emerging from Quelque Chose Tombe’s constant darkness however, is a latent sense of hope. Racine is turning modern vulnerability into a strength, creating a singular aesthetic to reflect and confront an uncomfortable present.

More information can be found here.

2585 Hits