empty spaces 2

empty spaces II | ambient/experimental/minimal | 80:45

An ethereal follow-through to 2006’s part one . . . linear & tangential sound derivatives set against a mathematically & minimally invasive audiological backdrop (an ambient “green-screen“, if you will).

Listener indulgence advised as you traverse the empty spaces afforded by this intentional aural arrangement.

Listen/Stream on Hear.This

01 Fabio Perletta – DALP 12 -Untitled (excerpt)
02 Jakob Ullmann – Disappearing Musics (morphed edit)
03 Abstract Audio Systems – Titan Sunrise
04 Asmus Tietchens – Fahl/L10RB
05 Asuna, Tomoyoshi Date & Federico Durand – Down Through the Tunnel to the River
06 Fictions and Poetics – Light Years
07 Jesús Acevedo – The Great Journey
08 Jeff Greinke – Below
09 Carlo Giustini – A2. Manifestazioni
10 Steve Roach – First Arrival
11 Aperus – Marsh Lake, October (sampling Ensemble Ektòs #15)
12 Arovane & Taylor Deupree – Stenn Dispel
13 Benjamin Dauer & Specta Ciera – Over the Coastline
14 Svarte Greiner – Bleeding Lights
15 Daniel McCagh – Epoch I

Feed to the Ground, by Youga

Just came across this delicious blend of grainy, granular, experimental ambience from Youga — nicely done!
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The seasons have changed almost completely, and the influence of seasonal patterns has a major impact on the agricultural system. The cultivation of food crops such as rice, pulses, or vegetables is still very dependent on the season. Dry spells that are too long or rain that falls continuously throughout the year can certainly result in crop failure, which in turn affects human activity patterns. In the continuous relationality of these events, sound emerges as a medium through which unexpected things happen, a force located in-between human and nonhuman agents.

Released February 14, 2023

Music by Youga
Piano by Adrian Ade
Mastered by Wahyu Kiky yudha Prasetya
Artwork by Yoga Nugraha
Design by Deden

Our Worldview . . .

By #Ambient . . .

. . . we mean slightly caustic, granular grit, replete w/ atmospheric & audiological tension that creates a sonic charge which reverberates across one’s cranial lobe —

producing a naturally occurring endorphin effect.

#Bliss!

[on Twitter]

Lontano Series

There are some wonderful audiological discoveries to be made here . . .seek and ye shall find!

Polarity, by William Ryan Fritch

‘Polarity’ is the first in a three album series reflecting on the many calamitous water crises affecting life on this planet.

Fifty percent of the sales for the three album series will be donated to communities that are at the front line of these crises, in perpetuity.

Much of the sound of Polarity was inspired by experiments in “real world-ing” various synthesized and electronic signals through modified speakers, transducers, solenoids and a multitude of electromagnetic drivers. All of which allow the sounds to be captured as acoustic phenomena resonating through various materials and liquids. For years, Fritch struggled to find a way to meaningfully utilize synthesized sounds and direct input signals in his music. So much of his relationship with composition and music in general is founded on tactility and proximity serving as vital determinants in how a piece of music is performed and developed. Fritch finally found relief from this through the utilization of hydrophones, ceramic PZM mics and unique contact mic setups to capture these sounds in a way that let him feel and see the vibration, resonance and energy from these circuits.

credits

Released January 13, 2023

‘Fremde Zeit – Addendum’, by Jakob Ullmann

Beautiful & haunting . . . (employing a morphed excerpt of this on our March ‘elements’ edition).
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‘Fremde Zeit – Addendum’ collects five pieces of etheric, liminal composition by Jakob Ullmann (1958), the widely acknowledged master of Quiet music.  For us, as we’d imagine many others, it’s a striking first introduction to the German minimalist’s very particular body of work. Comprising 4 hours of barely-there strings, percussions, wind instruments and voices prefaced by the instruction “Please choose, for each piece, the volume settings of your sound system so as to just barely mask the ambient sounds in the room”, this is music made for concentrated listening, recorded and specifically designed to give listeners “the opportunity to hear more, and better” by the simple but essential notion that “We hear better because we make an effort to hear better.”

With this is mind, we’re invited into a sound world which actively, yet effortlessly challenges our perceptions of space and time with a compelling, transcendent effect akin to that of listening to music by, say, Eliane Radigue or Morton Feldman, yet with an alien, detached appeal entirely its own. Due to their extended durations – no piece is shorter than 34 mins, and over an hour at the longest – we form temporal impressions which blur the boundaries between our immediate space and the apparent vastness of the recording, teasing our sixth sense to wander on a knife edge of trepidation and somnolence.

Once you’ve heard this music it should come as little surprise Ullmann studied sacred music in Dresden from 1979-1982 – his music could be the lingering resonance of an Arvo Pärt piece played in a huge cathedral, carrying the weight of history.

A revelatory package, whose impact will surely emerge and manifest as slowly, yet powerfully, as the music itself.

Listen/Purchase: https://boomkat.com/products/fremde-zeit-addendum

Onwards System, by CELL

Ultimae proudly presents the new album by Cell called “Onwards System” ; a dazzling call drawn from experience. Ambient by nature, it is the latest portent of a certain musically crafted world of emotions and sensations. French composer Alexandre Scheffer unbars a marvel of intricate yet minimalist and elemental compositions.

Through the 10 chapter story, the artist intertwines layers of subdued downtempo within crispy electronics, hinting at our fragility with resolve while reaching out beyond genre boundaries with unfathomable talent.credits

Released April 7, 2022
Written and produced by Alexandre Scheffer at Atmospheric Studio
Mastered by Vincent Villuis at Ultimae Studios

u n f o c u s e d [7]

u n f o c u s e d _ 7 | ambient/experimental/minimal/glitch | 78:59

Part 7 (of 20) in an ongoing experimental/experimental ambient series with a little ‘magic’ going on in the segues, behind the scenes (some new treatments/processes/blends we’re working on. . .).


Listen/Stream via Hear.This

01 Alois Yang – MLMC Part 0. (rec. @ SSI 4DSOUND System)
02 Ensemble Ektòs – Semèia Kài Tèrata (parts 18 & 20)
02 Carlo Giustini – Come Salvia
03 Andrea Porcu – La coesione tra i due mondi (excerpt)
04 Loscil – Ryou-Un Maru (excerpt)
05 The Rain Dogs – After Rothco
06 Robert Fripp – Music for Quiet Moments 42 – Glisten (La Spezia 28 Jun 2006)
07 Music for Sleep – Tanto
08 Andrea Porcu – La coesione tra i due mondi (Alt. mix), excerpt
09 Fictions and Poetics – Parcel of Incomplete Promises
10 The Hive Project – A Curious Conclusion

Dove Apparirà la Polvere?, by Fabio Perletta

This is yet another intriguing release from Fabio Perletta’s 901 Editions. I’ve made a remix of the pieces for my own, personal collection & it’s living on my iPhone’s “Minimal” Playlist.

Found-Sound minimalism at its best!

Reviewed on esoteros by Michele Palozzo
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The sentence “Dove Apparirà la Polvere?” (English: where will the dust appear?) emerged within a text that collects thoughts and writings from a year-long residency I did at Pollinaria in 2020 for the Aequusol project. The text in question, “Semi” (Seeds), is the fourth in a series of texts created for an ongoing participatory action. The words were recombined by a genetic algorithm with the specific task of introducing elements of randomness and disorder into the original sequence.

I thought of this casual fragment as a good conceptual starting point for this annual project whose goal is to document my creative process. I’ll be sharing mostly unfinished ideas, drafts, variations on un/released pieces, live recordings, improvised sessions, raw field recordings, loops and collaborations with friends on an irregular basis. I’m not sure what this project will turn into, but who knows where the dust appears?

The project is “free / pay what you want” (please consider donating. Thank you!)

Released December 25, 2022

The Mars Transmission: 01.01.23

The Mars Transmission | Post Rock/Noise/Experimental | 80:32

After the Mars modified Lunar-Rover returned from collecting enough raw audio samples, our team reassembled them to come up with this aural eruption. . .

A slightly darker, more aggressive & brooding Fripp/Crimson-driven red planet monstrosity; made to be played at maximum volume!
(I’ve been playing in via my car’s audio system this week in anticipation of the release).

The final track is a custom edited extension of an extremely short ProjeKct Four (Robert Fripp w/ Trey Gunn, Tony Levin & Pat Mastelotto) piece unearthed by DGM Live as they sorted through various audio files (stuffed into old shoe boxes, no doubt): it clocked in @ just over 2 minutes (boo!) . . . now it’s a searing 5′ 50″ rocker!

Happy New Year to one & all; our 2023 podcast lineup is . . . killer.

[Begin Transmission . . .]
00 J.Peter Schwalm & Stephan Thelen – Quaoar x 1:07 edit
01 Otto Lindholm – Nilindigo
02 King Crimson – Industry
03 Ynos – Tears in the Rain
04 The Cotswold Gnomes – Ringing Beat
05 The Fireman (Paul McCartney) – Bison
06 Brian Eno & Robert Fripp – Dirt Loop
07 Robert Rich – Electric Ladder
08 King Crimson – Discipline
09 The Gnomes of Cotswold – Sneering Loop
10 David Bowie w/ Brian Eno – All Saints
11 Robert Fripp – Breathless
12 Fripp & Eno – The Idea of Decline
13 Andy Summers & Robert Fripp – I Advance Masked (artwork)
14 David Torn – Sink
15 The Cotswold Gnomes – Tripoli 2020
16 ProjeKct Four – Sus Tayn Zee (extended crimson red-exit edit)
[End Transmission]