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.
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).
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. 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.
How To Empty A Cup was recorded almost entirely in the rain, which is unusual because it was recorded in Los Angeles. The album was organically written & produced by Danny Scott Lane who called upon a few key guests for wind and string features. How To Empty A Cup is inspired by the sounds of the artist’s immediate surroundings: children playing outside of the window, a teachers strike, the bird’s nest above the street sign, crickets in the bush near the parking lot. This is Lane’s debut album as a solo artist.
Notes: all songs written, recorded, mixed and mastered by Danny Scott Lane keyboard and field recordings by Danny Scott Lane flute on ELEVEN by Joseph Shabason saxophone on FOUR by Joseph Shabason various cello by Harrison Lee various flute by Hannah Go cover photo by Danny Scott Lane cover design by Andrew Stilkey 2019 Shimmering Moods Records
This began with me enjoying a then recent release by Keys for Eclipse and then tinkering with some of the tracks. I decided to use Landscape Amnesia II, and then built the mix around that — and I had been wanting to delve a little more into Eno’s extended Apollo Soundtracks collective. . .
. . . piece by aurally inspired piece.
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01 Richard Bentley – Metalwork (extended edit) 02 Fuantei – て(pt. 2)_extend 03 Monogoto – Iuxta Mare [deletion 5] (excerpt) 04 HRNS – Canadian Rifles 05 Rumforskning – Vagtios 06 Porya Hatami – 2 07 Fabio Perletta – 8_35_ 08 Harold Budd – The Twins 09 Lauki – CEO 10 Keys for Eclipse – Landscape Amnesia II (extended edit mix) 11 Bets – Osafune 04 (excerpt) 12 Steve Roach & Robert Rich – Magma 13 Robert Rich & Lustmord – Undulating Terrain 14 Non-Metrical Hombre – Tilapsis Redundancy 15 Richard Chartier – Variable Dimensions 16 Janek Schaefer – Acoustic Ensemble 17 Brian Eno – Waking Up
Nice — very nice — already looking @ excerpts for future mix podcasts . . . ____________________________________________________ Ambient artists and peers Ian Hawgood, Porya Hatami and David Newman have come together to compose a series of works based on the concept of creation, change and loss. Partial Deletion of Everything (Vol I) marks the beginning of this shared stream of consciousness.
The first volume contains a single long-form track titled ‘Iuxta Mare’. The track weaves acoustic instruments, field recordings, synthesizers and modular chains to sculpt its narrative and channel a flow across acoustic space, time and silence.
The Partial Deletion of Everything series focuses on impermanent objects and their placement within time. Even somethings as vast and powerful as the ocean was once not here. The Work chronicles the impact of beautiful moments in time and documents how they change, disintegrate and fade. Each ‘deletion’ references the interplay between physical reality and subjective experience. Our bodies hold memories and experience the impact of changes and loss.
As an artist collective, we are pleased the music is at once exquisitely sad and uplifting. It flows at a surface level whilst encompassing deep undercurrents. Like ocean waves, each reflection holds up a mirror to the experience time passing.
Our work to date as individual artists has featured on many excellent labels including 12k, Home Normal, Hibernate, Audiobulb, Dragons Eye, 12 rec, Eilean Records and many others.
Written during the beautiful and quiet springtime of 2020, Drawings from Imagined Cities represents a shift in my work from the intimate and at times darker and somber moods of previous releases, to a more open and tonal sound reflecting that peaceful, unhurried environment. I found myself experimenting with a more dreamlike palette, warmer and quieter which mirrored the days I spent walking and simply listening to the muted world around me. My ever present use of field recordings are delightful traces of small events that took place during the writing of this album, for example the blackbird in ‘Melancholia’ which we would listen to each evening as the light faded in our garden.
So, informed by this ‘quiet time’ that we all found ourselves in, I was also inspired by much of the new music I was listening to which seemed to resonate with this feeling of allowing oneself to drift as if in a daydream. My ‘rediscovery’ of an earlier body of my work that became ‘Arcadia’ seemed to point in that direction as well.
I had also started experimenting much more with my guitar and this album presents it more prominently than previous releases, but possibly not in ways that are easily recognizable. I loved the physicality of playing, with small movements bringing about a controlled change in sound however, my continuing fascination with the piano remains.
Originally released on cassette, I’m hugely grateful to Elm Records for bringing this into the world.
Released July 23, 2021 Mastered by James Armstrong Artwork – Sat.VI by Ian Chamberlain