Ear Duration by TONUS

Releases January 19, 2019 

Graham Dunning : snaredrum, objects 
Dirk Serries : accordeon, acoustic guitar 
Benedict Taylor : viola 
Martina Verhoeven : piano 
Colin Webster : flute, alto sax 

Performed at Hackney Road Studios, London (UK) on October 26th 2018. Recorded by Tim Cedar. Mixed by Dirk Serries. Mastered by Sunny Side Inc. studio (Anderlecht, Belgium). 

Sleeve notes : Guy Peters. 
Layout : Rutger Zuydervelt 
Executive label director : Dirk Serries. 
newwaveofjazz.com

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Discovering Dimensions with Laima Lisauskienė

Tags

Ambient, Drone, Experimental

Sonagrama magazine published a very introspective article on my online friend (and mix-making diva) Laima Lisauskienė. I’ve copied a portion of it below – please see the link @ the bottom for the entire article.
_______________________________________________________________________________________
I’m Laima Lisauskienė from Lithuania’s capital city, Vilnius. I studied Fine Art during my secondary education at the National M. K. Čiurlionis School of Art and went on to attain degrees in visual design at Vilnius Academy of Arts. Visual communication has been a key component throughout my education and professional career and remains central to my work in areas such as graphic design, corporate branding and advertising. Since 2010, I’ve been a member of the Lithuanian Graphic Design Association (LGDA). In addition, I have a long-standing interest in music and sound culture, which is the primary focus of this article.[1]

I love exploring the ways in which different media platforms can be used not only to distribute music, but also enhance communication between musicians and audiences in fresh and exhilarating ways. I am proud of my Lithuanian heritage and greatly enjoy visiting other countries and collaborating with musicians and other creative people from different cultures. In the past, I’ve had the good fortune to travel extensively in countries such as Egypt, Germany, Spain and the UK. I had a wonderful time living in Bilbao, whilst working as a design consultant for an international conference on art and technology Technarte 2015. Consulting on Technarte was both a stimulating project in itself – combining art, technology and science – as well as an ideal opportunity to explore and expand my fascination with sound and music.[2]

After working on Technarte, I returned to Vilnius in late 2015 and was invited to create radio programmes for an innovative online music streaming project Radio Kaos Caribou (RKC), based in Ermont, France. Creating my fortnightly radio show Dimensions involved investing a considerable amount of time, energy and resources into discovering and acquiring music created by talented artists working, for the most part, under the radar of the mainstream music industry. I consulted professional audio design engineers and learned new skills, using technical expertise and resources of a well equipped sound studio to create my own Dimensions mixes. As a result, the compilation audio file for each show was specifically designed and engineered for my regular one hour slot on RKC. The inaugural Dimensions #1 show was first broadcast online 26 March 2016.[3]

Whilst crafting Dimensions radio shows for RKC, I also worked on a four-day sonic arts event Music Tech Fest (MTF) Berlin 2016 and this further enhanced my appreciation of experimental music and sound culture more generally. During MTF Berlin, I was inspired by a number of artists, notably the talented electronic musician and multimedia artist Robin Rimbaud (aka Scanner) after attending an exclusive preview described as ‘sketches’ of his permanent sound installation ‘Water Drops’ for Rijeka airport, Croatia.[4]

It was a joy to meet Robin and speak with him backstage at the festival. He kindly agreed to contribute a selection of his unique experimental music to include in my shows, such as the composition ‘Middlesex Voices Interlude’ featured in Dimensions #7 and, more recently, one of his latest albums ‘Mass Observation (Expanded)’. I am grateful to Robin for supporting Dimensions over the years and our continued collaboration.[5]

Overall, my positive experience of MTF included previews of work by contemporary artists – such as Benjamin Heidersberger, Bernd Deckers, David Fernandez, Greg Beller, Johannes Wernicke, Rikard Vilhelm Lindell, Robin Rimbaud and others – using the latest technologies in the sonic arts showcased at the festival, and this had a huge impact on Dimensions.

The growing experience and creative potential, discussions with practitioners and theorists in the sonic arts and design world, the expanding library of compositional works (audio, images, video and text), and the desire to reveal new music and narratives led me to realize my personal endeavour to transform Dimensions into a multifaceted, independently curated transmedia project.

© Tadas Kazakevičius, Lithuania, 2019

Momentum

As the year 2017 came to end, I left everything behind, transitioning from the eclectic ethos of RKC to a tranquil space that enveloped and allowed me to dream during sleep and waking hours. A most extraordinary dimension of time and space. I completed one path and embarked on a myriad of new ones, including new directions and vistas for Dimensions. I wanted to offer contributors and listeners a new approach or, if you will, portals to the conceptual context, core themes and content of future Dimensions.

In January 2018, Dimensions entered a new phase as an independent music program broadcast monthly on Mixcloud, incorporating new and exclusive material from a diverse array of music labels.[6]

‘Being in and moving around the city, navigating through a myriad of criss-crossing lifeworlds and meaning-filled spaces. Adrift amid the fluidity of time, traversing pathways and places of an urban habitat both familiar and unknown. Fleeting memories of times past, in which the real and imagined converge and dissolve effortlessly into each other. The past is constantly being imported into the present. Broken shells of a forgotten time, fragments of ever-changing identities born of the desire to inhabit and understand the world. This urban journey and flux of experiences simultaneously evoke feelings of fragility, reticence, strangeness, and anticipation.’

. . . .

Read entire article

The Secret Soundscape Club

A free monthly audio dispatch for curious ears. Get one surprise mini soundscape a month, always under 2 minutes, always free.  

Direct streaming link sent to your inbox. Nothing to download, no faff. 

A little treat for your ears and your imagination, on the last day of every month.

Sign up: http://www.lacosapreziosa.net/the-secret-soundscape-club

shimmering undercurrents, arc 6

Arc 6; the unplanned culmination of a mix series that I didn’t mix. The series concentrated upon the works & legacy of Brian Eno (solo work, collaborations & production projects with other artists). Joe Miles, a.k.a. 12vman, came up with the idea for the series & then contacted me for assistance with the cover art – which I happily created. Along the way I made a suggestion or 2 regarding tracks for future editions and that was that . . . (or so I thought).

The series was more compilation than mix because the tracks weren’t segued, simply ordered by track – nevertheless it was well received by me & the rest of the ArtoftheMix.org community.

Then, after he had completed the 5^th edition – we got to talking about another “final” edition. Eno had just produced Paul Simon’s “Surprise” and that got our wheels turning . . . Joe mailed me a CD with his tracks & I got to work. At the time I was using Roxio Music Editor – which was nice software for a beginning mixer, but was limited in its segue ability. But we punched it out to rave reviews & that was that . . . (or so I thought).

Last Christmas, I reloaded the tracks into Audacity & remastered it using the same track order – but rather than individual tracks (segued, but with electronic bzzt in-between those tracks) I output it as a single mp3 for zero interruption on playback.

And so, here it is: Arc.6

Tracklisting

01 Eno, Brian – Notting Hill (edit)

02 Another Green World – Becalmed

03 Brian Eno & Jah Wobble – Like Organza

04 Brian Eno – Triennale

05 Toto – Prophecy

06 Brian Eno & Harold Budd – The Chill Air

07 Philip Glass – _Neuköln_

08 Brian Eno -The Big Ship

09 Jon Hassell – Solaire

10 Brian Eno – Bottomliners

11 Shiveree – Fat Lady of Limbourg

12 U2 – Tryin’ To Throw Your Arms Around The World

13 The Talking Heads – Mind

14 Brian Eno & David Byrne – Quran

15 FarFlung – The True Wheel

16 Eno-Moebius-Roedelius-Plank – Conditionierer

17 Paul Simon & Brian Eno – Sure Don’t Feel Like Love

18 Brian Eno & John Cale – One Word

19 David Bowie – Red Sails

20 Brian Eno – King’s Lead Hat

Lua, by Wil Samson

Two weeks after relocating to Portugal from the UK in May 2016, a sudden and traumatic injury to his mouth and teeth provided Will Samson the excuse to put singing aside and focus on creating an almost entirely instrumental body of work.

As Samson describes the recording: “The whole process was about being open and allowing the music to flow out naturally, without letting my analytical mind become involved. To just press record on my tape machines and see what happens. This experiment allowed me to produce some honest documents of how I was really feeling at the time with all that was going on in my life. “Père” was recorded the day after returning home from hospital, with my friend Beatrijs De Klerck adding her violin parts a week or so later. I was still in a slightly dazed, sense of shock and recording this piece helped to settle me back down, after the surreal 48 hours in a Portuguese hospital bed.”

In contrast to his recent album, Ground Luminosity (which was meticulously crafted over a period of two years), Lua showcases Samson’s ability to improvise and create spontaneously, with equally engaging results, using his beloved tape machines (from a microcassette recorder to 1/4” reel-to-reel) to produce organic and textural soundscapes that are soaked with deep mood and emotion.

Lua features Benoit Pioulard (Kranky, Ghostly International) on “You Are An Ocean” and a cover by visual artist Gregory Euclide (known for his artwork for Bon Iver) that beautifully renders the sound of the album.

Released July 29, 2016
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Faster than Ice Cream . . .

Our mixes melt faster than your favorite brand or flavor . . .
. . . even Häagen-Glädjé
;– D

 

Z z z z z z . . .

Mmm . . . fell asleep on the couch with an #Ambient mix on earbuds . . . [lights out!]
;- D

ást, by Fallen

Digging this . . . !

“ást” means Love in icelandic and this record has been composed and recorded after 1 year of domestic partnership with my lady and this is the 1st time for me going through this, cause I never had the chance to live together with the previous ladies of my life. So, I can say that “ást” tries to tell how this year has changed me as a person and as a man, trying to focus the attention on little things to which we generally do not pay attention to, because we take them for granted, but in my opinion (and this is usual to me, I don’t have the habit to take things for granted) they are absolutely important.

“ást” is everyday life and smiles, cries, fights at night. “ást” is heartbeating, “ást” is to breathe.

When I listen to “ást” it’s like to see myself through a mirror, it’s like to see a shy sunrise early at morning, it’s like to see raindrops on windows glasses, it’s like to smell the scent of night (just smoking a cigarette outdoor before going to bed) when you feel worried about your future.

I composed and recorded the album between October and December 2017 and I remember I used to feel serene during the recording sessions; maybe it was the first time in my life as a musician (composer and folksinger as well) in which I felt really serene while composing an album.. a very different one from what I’ve done with music up to 2017. So, I used to feel relaxed, I used to feel an inner peace in my heart, even though I was living (and still I am) a period of very great change.
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Released April 22, 2018Composed, Arranged and Recorded by FALLEN with Piano,
Electric Piano, Organ, Synthesizers, Guitars, Field Recordings
(people, traffic, television, radios) and Found Objects (paper, bottles)
between October and December 2017.

Mixed and Mastered by FALLEN in December 2017.

Thanks to Colin Herrick and Time Released Sound, Chiara (my Love),
all the foreign and the Italian press who have reviewed my releases up today, my family.
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Hitting the BIG time (@ last!) ;- D

Honored to be included here . . . especially when I see who else was chosen!

Congrats @AmbientLndscape Your blog has been selected as one of the Top 15 Ambient Music Blogs on the web by @_feedspot https://t.co/hKoaRyDKYS

— Feedspot Blog Reader (@Feedspot_Blog) August 31, 2018

elements _ hybrid

This is a project that I’ve been compiling in my head since this past Spring; a Jazz, Ether/Euro-Jazz, Classical mashup . . . with a hard, Belgian finish – combining ECM artists w/the eclectic world of the Avant-Garde.

Inspired by the Thomas Strønen release, Lucas.
Happy listening!  / 94:18

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01 Biosphere & Deathprod – Muses-C (edit)
02 A Winged Victory for the Sullen – Metro, Pt. 3
03 Nadia Sirota & Liam Byrne – Letter EE
04 Triosk – Lazyboat
05 Jan Jelinek – Moiré [Strings]
06 Thomas Strønen/Time is a Blind Guide – Fugitive Places
07 Miles Davis – L’Assassinat De Carala
08 Lynne Arriale – I Hear a Rhapsody
09 Jan Garbarek – Desolate Mountains II
10 Thomas Strønen/Time is a Blind Guide – Tension
11 Nadia Sirota & Liam Byrne – Letter RR
12 Andy Sheppard Quartet – They Came from the North
13 Bob Holroyd – Woven
14 Jan Jelinek – Do Dekor
15 Sun Ra – New Day
16 Brian Groder – Water Prayer
17 Wynton Marsalis – Think Of One
18 Machine Mass feat. Dave Liebman – Centipede
19 The Wrong Object – Saturn