This is a live multichannel concert presented during the opening of the second season of Substrat at SAT with Akousma in 2017. I rendered the file in stereo for your enjoyment.
“Substrat invites you to dive again into the creative worlds of Montreal-based sound artists ! Through a series of performances in the Satosphere’s 157-speaker dome, Substrat offers an exclusive listening experience, between sound spatialization, experimental, electroacoustic and acousmatic music.”
Released December 4, 2020 All sounds captured, processed and manipulated by France Jobin. Track composed for the Substrat evening.
Wanderings & meanderings across an ambient aural landscape . . .
. . . driven by the 20 year anniversary release of Shuttle358’s Frame; & mixed in with some recently acquired sounds.
We broke from our standard slowest-to-fastest mix methodology to “drift” with the sonance & speed play; nothing outlandish, but the landscape ducks & weaves (slightly) between beatless drifts & then back again.
Tested on more than one occasion via earbuds . . . we think you’ll like it!
01 Riverrun – Hamworthy Common II 02 Carlo Giustini – Preghiera Su Walkman (Zolfo) 03 Brian Eno – Strange Quiet 04 Taylor Deupree – Minism (m)ORPH Mix (edit) 05 The Rain Dogs – Light 06 Shuttle358 – Fissure 07 Nico Guerrero – Materiae Melancholia (edit) 08 Iluiteq – A Sylvan Elegy 09 Shuttle358 – Cavalry 10 Micah Frank – Traverse 11 J. Peter Schwalm & Markus Reuter – Ein Riss 12 Lammergeyer – All This Time 13 AES DANA – Period 09; Ambivalent 14 The Grid & Robert Fripp – Loom
Strands is the second transmission from the enigmatic electronic artist Radiant Mind (who enjoys the privilege of brushing Steve Roach’s teeth every morning ;- ) ). Choosing to work in anonymity with Steve as the producer and interface this artist draws from elongated space music forms and textures – long unfolding drifts and slow suspensions. On this new release of deep in the night travels, Strands unfurls into a purely atmospheric set, probing into the darker regions and outer edges of sonic space.
All the sounds and textures are created specifically for each piece. Along with the mastering of the music Steve adds spacial processing enhancements and subtle looping in the final stages.
This is the 22nd compilation of music from the Haiku challenge: music made in response to a weekly assigned haiku poem. For more information, and to join the project, visit www.naviarrecords.com/about/naviar-haiku
The compilation is free to download but donations are appreciated. Please follow and support the artists involved:
Monologue by Tomotsugu Nakamura is a graceful and meditative listening experience. Acoustic instruments are subtly processed and layered to great effect, along with the occasional field recording or glitchy element. Never overshadowed, however, is the melodic beauty of the gently cascading notes and the patient use of space between them.
By Michael Cottone aka The Green Kingdom
Wish you to face & listen to this music in this vinyl format. Because vinyl gives us a good experience to listen in every moment.
credits
Released June 14, 2019
All songs were written and produced by Tomotsugu Nakamura
Mastered by Vivid Near Sea
Directed by David Newman
Photography by Mitsuhiko Warita(＠tsudurisha)
Designed by Tomotsugu Nakamura
Special Thanks to Michael Cottone aka The Green Kingdom
elements_strands | Jazz, Ether Jazz &Stuff | 78:46
‘strands’, i.e. strands (or threads) of composition –an example of design driving the final output; built around the cover image and the Fur/Torn compositions . . . we just kept adding/shuffling, [etc.] tracks until we had something we liked!
Is this “Jazz”? You bet your ass it is!! Guitar & Trumpet heavy, the push was back towards the zig-zag, eclectic editions of the ‘elements’ series, which was accomplished via the placement of the Torn, Summers & Webster/Serries pieces. We originally went with a different Big Vicious track — but teased that out (and completely reworked the 2nd half of the mix) when we heard ‘Fractals’.
An online trip (or 2) to ECM Records & Amazon (sampling is SUCH a great tool when mixing!) yielded the completionary tracks needed to cement the project . . .
. . . and then it was done! BTW . . . the respective Scofield & Summers pieces end/begin on the same note!
(file under eclectic, avant-garde & ether-jazz).
#PianoInPianoOut
Download via Bandcamp
Listen via Mixcloud
. 01 Goncalo Almeida – Monólogos a Dois II 02 Nik Bärtsch’s Ronin – Modul 59 03 Sonar – Slow Shift 04 Soft Machine – Broken Hill 05 Yaz Ahmed – The Space Between the Fish & the Moon 06 Avishai Cohen & Big Vicious – Fractals 07 John Scofield, Steve Swallow & Bill Stewart – In F 08 Andy Summers – Harmonograph 09 Art Ensemble of Chicago – 597-59 10 Colin Webster & Dirk Serries – Spring 11 David Torn – Balet Pentru un Orizont Disparut (Ballet for a Missing Horizon) 12 Miles Davis – Miles Runs the Voodoo Down (treated) 13 Kenny Barron & the Dave Holland Trio – Pass it On ……(featuring Jonathan Butler)
Deep and dubby ambient flow gently pulsating with atmospheric electro echoings: enter Granite.
Inspired by natural rocks this opus is composed by Martin Van Rossum under his Martin Nonstatic moniker.
A twelve-tracks album of smooth catchy drifts, hypnotic melodies and waves of subtle beats that contrast with lush soundscapes. Spiced-up blend of deep techno slash house, dub and downtempo, enhances clean-cut electronic rhythms and soothing rolling bass lines. Granite is Martin’s third album following releases on Bine Music and Silent Season and tracks on several compilations including Passages and the forthcoming Digiseeds by Ambientium.
released November 11, 2015
Written & Produced by Martin Van Rossum Mastered by Vincent Villuis | Ultimae Studio (www.ultimae.com/audio-mastering) Artwork by Markus Wilwerscheid and Arnaud Galoppe
Throughout eleven cuts painstakingly executed but lacking not an iota of the fresh, spontaneous oomph that made his sound stand out of the crowd of techno producers to have emerged over the past decade, Adriani lays the foundations to a suspended sound imaginarium, governed by its own rules and principles of gravity. Revolving around the notions of sublimation and quest for inner balance, ‘Morphic Dreams’ is comprised of four distinct sequences, conceived and designed as reflections of four mental states, each of them linked to the four alchemical elements – i.e. Water, Earth, Air and Fire – here represented by the A, B, C and D-sides. Fluid and enveloping, the A-side bathes the listener in some zero-G uterine vortex, pitching and rolling from the slo-burning exotic sensuality and tribal spell of ‘The Tropical Year’ to the trunk-bending, arpeggiated fast-track pulse of ‘Storm Trees’, through Raindance’s feverish electro swing. Entering a further abrasive, minerally rich phase, the B-side unleashes Adriani’s dark side with optimum conviction. Deeply anchored in earthly materiality, this new evolution stage starts off to the frantic Italo bass of ‘Dissolving Images’, rushing headlong into a kaleidoscopic maelstrom of fractured reflections and nasty Giallo-like ambience. The delirious body stretch sequence then rather abruptly swerves onto a calmer flux with ‘Dust/Mist’, a much enticingly hip-swaying collaboration with Simon Crab, ex-member of the seminal ’80s UK industrial-experimental band Bourbonese Qualk, before ‘Casting The Runes’ engulfs us into a tormented world of swollen eeriness and disquieting esoterism.
Back to a widescreen showcase of droney distortions, nasty acid swashes and other quirky drum programming, ‘Hors De Combat’ opens a new chapter, shortly followed by the playful bass intricacies and modular jeu-de-piste of ‘Invisible Seekers’, featuring Avian affiliate and longtime friend Shawn O’Sullivan. A further mind-expanding piece, C-side closer ‘Crow’ deploys its blackened wings wide and high as a chaos of martial percussions and liquefying synths slivers crash past the red-hot skyline. A fluttering melodic interlude, ‘Things About To Disappear’ blazes a clean trail for ‘Make Words Split And Crack’ to flourish, slowly but surely blooming into a nonstop grandiose twelve minute-shy finale geared up with the stirring cacophonic force of a Ligetian symphony and something of an epic-scale Kubrickian soundtrack.
