Post-aural construction, custom-formulated wavetables, sound installation & . . . redundancy (we’re always in the studio pushing the edge out a little bit further . . .).
The first, out-of-the-[black]-box project not created merely as a component of a LARGER mix project (see our Sun Rings mix for further explanation), but as a stand-alone mix of its own: spliced, split, altered, over-dubbed & painstakingly rendered for your next aural excursion, ambient gathering and/or walkabout [19+ Gigs of disc space to produce one, 102 megabyte mix! The “Effects” folder contains more data than the mix itself!]
Interestingly, I only came across the Scorn track (via OHM Resistance’s Bandcamp page) after the project had been named & was supposedly complete – but I thought ” . . . . hmm “: )
. 00 Intro: STUMM433/It’s All Dark (fractal, 4 layer excerpt into track 01) 01 Brian Eno –LUX3, stretch-edited over nineteen minutes & then layered with several manipulated sections (2 & 3) of Twin Radiant Flux by Scott Cortez. 02 Rag Dun – The Place That Speaks 03 SteveRoach – Into the Mist with excerpts from Chris Russell’s ‘Portal’ & Neuro…No Neuro’s ‘Under the Skin’ 04 Scott Cortez – Twin Radiant Flux (morphed sections 4 & 8) layered with Brian Eno –LUX3 (stretch edited to thirteen minutes) & excerpting Momento, by Nels Cline, Tim Berne & Jim Black 05 Eugene Kha – Bells of Epoch, pt. 2 (Fog Mix) 06 Christopher Alvarado, Mystified & Colin Vallon – Dehli & Styx (dual excerpts layered & rendered atop one another) 07 P. Maze & Otto Lindholm – Part 1 (guillotine edit) 08 Cluster & Eno – One (fade to black edit; interpolating fractals of David Torn’s ‘At Least There Was Nothing‘) 09 Scorn – Black Box (Cafe Mor/UFO edit [w/quotation exit])
Pre-ordered this a day ahead of its release & received the excerpted portion & then the full album. Nice: experimental, quirky, emerging, elusive aural Sushi & . . . pop-py (but NOT “Poppy”). The engineering staff’s already tied it down to the operating table for dissection & reassembly (into another mix project) . . . we’ll await their findings & take it from there (don’t worry; we wear masks, surgical gloves & Saran-Wrap EVERYTHING since we’re deathly afraid of the virus with a 99% recovery rate ;- D ) _________________________________________________________________
901 Editions is proud to announce the latest release by Japan’s Minamo, the duo formed by Tetsuro Yasunaga and Keiichi Sugimoto. “Superscience” follows their recent collaboration with Moskitoo “Superstition”, released by 12k in April, 2020.
The work was recorded at Ochiai Soup in Tokyo on May 11th of 2019 as part of the label’s showcase 9+1=0. This live format, which embodies the notion of imperfection, irony riddled in its name, has been presented in Rome, Milan, and London. These showcases combine the participation of artists from past 901 Edition releases alongside new artists who may not have a direct connection with the label but have inspired its research over the years.
The title of the album conceptually alludes to a living organism constantly mutating, formed by outstandingly peaceful harmonies and digital hums. Guitar textures and microsounds continuously merge, interacting and unravelling with one another. Alike their previous albums, “Superscience” blurs the line between live performance and studio practice, deploying sounds surgically crafted with the naturalness of the present moment of which Minamo are among the finest leading figures.
Stuart Hyatt returns with another sonic wonder in the Field Works series, bringing the listener into truly uncharted acoustic territory. Ultrasonic is perhaps the ﬁrst-ever album to use the echolocations of bats as compositional source material. For this special album, Hyatt has assembled an extraordinary group of contributors: Eluvium, Christina Vantzou, Sarah Davachi, Ben Lukas Boysen, Machinefabriek, Mary Lattimore, Felicia Atkinson, Noveller, Chihei Hatakeyama, John Also Bennett, Kelly Moran, Taylor Deupree, Jefre Cantu-Ledesma, Julien Marchal, and Player Piano.
Ultrasonic is part of a broader storytelling project about the federally endangered Indiana bat. Generously funded by the IUPUI Arts & Humanities Institute and the National Geographic Society, each album contains an ofﬁcial printed booklet of The Endangered Species Act of 1973.
Markus Reuter is the master of the ambient touch guitar. This instrument, in the hands of this virtuoso, produces a very distinct sound. When Markus adds manipulations and treatments, the sound goes over the top, into uncharted zones.
He recorded the tracks for The Longest in Terms of Being from July, 1999 through October, 1999 with one track from March, 2000. This set is a progression and a roller coaster of emotions. Markus has chosen to take listeners on a whirlwind tour of their own psyches. It promises to be an intense journey and to run the gamut of the dark side of the self. There are brief respites of contemplative melancholia but the overwhelming moods are dark, somber and ominous. At times, the disc even threatens to go sinister. This CD, released in 2001, is an excellent companion to Markus’ collaborations, group projects and other solo efforts.
– Jim Brenholts
released July 1, 2001
Written and performed in real-time by Markus Reuter
Composed By, Performer, Guitar – Markus Reuter Cover – Michael Kuhne Edited By [Digital Editing And Assembly] – Philipp Quaet-Faslem Producer – Markus Reuter, Philipp Quaet-Faslem
A reworking of Talvin Singh’s 1998 classic “O.K.” It follows an ambient/electronic/techno path & is wrapped & designed around the simple fact that I like to run 3 times per week whilst listening to something that keeps my feet moving! Reconstructed (somewhat) from our mixtape cassette version of 1999, this version of the project utilizes only 2 more recent releases (Martin Nonstatic & Alessandro Adriani).
It was a blast, though, thumbing through the CD vault for the likes of Stereolab, Add N to (X) & the Passengers discs. Starts slow & ends up wildly flailing, as hushed tones beget drivingbeats.
Emil Holmstrom and Peter Wikstrom have been working on different music projects together since 2001, but in 2006 after a long journey around south asia they found some otherworldly inspiration to create The Ecovillage project.
Ecovillage say that the seventh album Arrived has by far been the most mentally challenging one to create, but also the work that could be the most rewarding to date on many levels.
Ecovillage feel that Arrived is the first album they have made that is a personal concept album that tell a certain story for the listener.
There was a hard time finishing up the album with lots of struggle at the end of creating it, but a mini tour in Los Angeles that was filled with tons of consolation, inspiring places and people to help finishing up the album.
Two collaborations from the album really make a mark. Ludvig Cimbrelius aka Purl, IIuvia, Eternell etc. who also was on the mini tour in LA and Carlos Niño who they met at two occasions and kindly contributed with lots of energy and inspiration for the album. Also Gayle Ellett who is a constant collaborator and almost a third member of the band helped out on many planes.
Ecovillage have released albums on Darla Records, Quince Records, Parallax Sounds, Constellation Tatsu, Nature Bliss and Eilean records
Released February 7, 2020 Mastered by Tobias Hellkvist Cover photo by Simon Whetham
Another time . . . another place . . . another world . . . another space.
A new #ambient mini-series utilizing a vector-forward/counter-intuitive mixing approach: here are some aural musings on sparse vacancies, barren landscapes & ambient-driven horizons . . . designed to facilitate the creation of individual sonic spaces enabling the listener a respite from the din of everyday life.
#Ambient / #Experimental / #Drift / #Drone / Part 1 of 3 79:55
01 Bernhard Günter – Kernal Panic 02 Scanner – Archive Land (excerpt) 03 Hilyard – Orpo 04 Aperus – When the Mountains Wear Black Hat 05 Devin Underwood + Marcus Fischer – Contrails + Mountains 06 Max Corbacho – Dreaming Spaces (excerpt) 07 James Murray + Francis M Gri – Ma 08 Brian Eno+ Daniel Lanois – Over The Canaries 09 AUME – Mutation, Wormhole, Primordial, Pawzeil 10 Randy Grief – Rolling Electrical Storm with Transmissions (excerpt) 11 Hammock – Fascinans 12 Strië – 87 Billion Suns 13 Benjamin Dauer & Specta Ciera – Over the Coastline 14 Strië – To Never Return Home
Just purchased this morning & playing now via headphones . . .
Thomas Zehetmair, one of the great violinists of our time, re-visits the solo works of Bach, the summit of the violin repertory. Using period instruments, Zehetmair plays the music with vividness and intelligence to produce a recording that is deeply steeped in the music and at the same time original.
The album was recorded at Propstei St. Gerold and is issued as a double CD with texts by Peter Gülke and Thomas Zehetmair. Composed three centuries ago, Johann Sebastian Bach’s set of six works for solo violin stands as one of the holy grails of the instrument’s literature – perhaps the holiest. Now the great Austrian musician Thomas Zehetmair makes his own mark in the rich history of this music, revisiting the repertoire on period instruments.
Zehetmair is an extraordinary violinist and a consistently inquisitive and self-questioning artist. He has not only played the big concertos but has given close attention to chamber music and new repertory, and has also found an extra calling as a conductor, channeling this varied experience into his return to the formidable cornerstone of Bach’s solo masterpieces. As a young man Zehetmair worked with Nikolaus Harnoncourt in his period ensemble, working with him to prepare for his first recording of the sonatas and partitas on a modern instrument. For this new recording, he draws out exquisite colours from two violins from Bach’s lifetime, both of them by masters in the German tradition, but there is nothing antiquarian in his approach – old instruments, for him, are tools with which to express a modern sensibility: alert, edgy, multivalent. His performance engages, too, with the superb acoustic of the priory church of St Gerold, in Austria where so many legendary ECM recordings have been made.
Peter Gülke, in his accompanying essay, refers to the “floating spirituality” of this music, and to how Bach here offers one side of a conversation with the performer, whom he leaves free to determine matters of dynamic shading, phrasing and bowing. Zehetmair brings vividness and intelligence to the conversation on a recording that, deeply steeped in the music and true, is at the same time powerfully original.
Born in Salzburg, Thomas Zehetmair made his debut at the Salzburg Festival when he was sixteen and started out as a recording artist the following year, with an account of the Mozart concerto in B flat (which the composer wrote at the same age). A first recording of the Bach solo works followed in 1983, when he was twenty-one.
By the mid-1990s he had recorded much of the mainstream violin repertory, but his interests in chamber music were already blossoming. He founded his own string quartet in 1994, with his wife violist Ruth Killius. The quartet made it a habit to perform all works from memory – even difficult contemporary ones – and to concentrate on just one programme per season. For ECM they have recorded quartets by Karl Amadeus Hartmann, Bartók, Schumann, Hindemith and Beethoven.
Zehetmair has also formed other long-lasting partnerships, notably with Heinz Holliger, with whom he took part in a ground-breaking recording of sonatas by Jan Dismas Zelenka. And it was for Zehetmair that Holliger wrote his Violin Concerto in 1993-5, and the two have collaborated on recordings of the composer’s chamber music, all documented by ECM New Series.
From working occasionally with chamber orchestras, Zehetmair moved on in 2002 to a commitment as music director to the Northern Sinfonia, based in north-east England. He stayed with them for twelve seasons, forming connections also with the St Paul Chamber Orchestra and the Musikkollegium Winterthur. Earlier this year he began a tenure with the Stuttgart Chamber Orchestra.
Whether as violinist or as conductor, his intention is the same: to discover “the purpose and relationship of every single note in the overall musical architecture”.