“Dialog Tapes is a blend between Eilean Rec. & Dauw in which we linked artists of both labels. It’s the result of true love for each other works. We hope you enjoy this little treasure.”
One year ago, eilean rec. came to Dauw to propose to them if they would be interested in a collaboration between our two labels. after some exchanges of ideas and talkings, we found the guidelines of the project : propose between a selection of the Dauw & Eilean Rec. music artists to choose 2 music artists from the other label and works with them on a piece of sounds.
here is the result of this project :
14 tracks, 15 music artists, 85 minutes of sounds spread on the two labels.
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Artists involved :
Aaron Martin, Danny Clay, David Andree, Dudal, Leigh Toro, Masaya Ozaki, Miguel Isaza, Monolyth & Cobalt, Ruhe, Sokkyo (Heine Christensen + Ciro Berenguer), Stijn Hüwels, The Humble Bee, Twincities, Wil Bolton.
Mount Shrine (Rio de Janeiro, Brazil) serves us a warm and inviting ambient album.
Rain pounds the temple as you look out across snowy mountains from a lotus position. A wet furred hare seeks refuge beside you, curious about the kettle of hot tea that rests at your side.
A distress call led you here, transmitted to a frequency on your Ham radio. The journey here was long and filled with majestic sights. Isolated villages, melting snow in forgotten valleys, the robed order of the silent all calmed your mind. The rolling fog followed you every step of the way to enlightenment.
Recommended for lovers of subtle field recordings and sleep ambient. Warm, inviting and atmospheric. Best enjoyed with a cup of hot beverage on a rainy day.
The TONUS Tribute mix: 75:21 | An ‘e l e m e n t s‘ side project. (unstable, discordant & audiologically dysfunctional)
This raw & untamed project initially began with over 14 hours of music. That was chopped to 3 hours as the palette of
T O N U S
material with which to begin – and the segueing/mixing/editing beg an at that point.
Overlays, ghosted audio imaging and l-o-n-g segues tapered it all down to a 75 minute mixture (+ another 67 for part 2) of ether-jazz, drone/glitch & experimentation – with a goal of showcasing TONUS within a construct of an elements deliverable.
Think of it as a cross between John Cage & The Slow Music Project— a sparse & minimalist soundscape. It is, primarily, an Experimental (in terms of compositions used) mix; then Minimal (as regards its sparseness of sound) then Ambient (due to its level of quietude) & lastly, Ether-Jazz.(because 80% of the tracks originate from A New Wave of Jazz artists).
We’d like to give a “shout out” to Silent Records for providing many of the corollary artists needed to make this a proper audiological “fit”.
01 TONUS – Cagean Morphology (edit x) …………………..Interpolating …………………..a. Quiet American – Beach Rain b. Masaya Kato – Column …………………..c. Protofuse – Data Thread …………………..d. Frieband – Emanate, part 1 (excerpt)
02 TONUS – Texture 1
03 TONUS – I
04 Khem One – Modal Gauzes No 1
05 David Lee Meyers – Upper Air
06 TONUS – Point A
07 Zero Ohms – Translation
08 Lingua Lustra – Steamloc to Oblivion …………………..InterpolatingTONUS – IV (excerpt)
09 Kali – Maya
Jonas Kasper Jensen is a visual artist who also works in the realm of sound art and composition. Since 2010 he has released audio editions of his sound installations, under his own name and the Kasper Knigge moniker. Last year he released his first material that strayed from the gallery environment and relied on purely musical and composed elements. 2017’s Layers of Bridges on the Danish label Clang, explored the connection between music and art, and contained a sculptural quality that applied tactile textures to otherworldly drones. Recordings of girders and beams cast a heavy, wrought-iron feel to that release.
His new album, Within the Temporal Experience (available 9/28), again on Clang, is a continuation of Jenson’s interest in sound-as-object. The metallic tones of his previous release have been smoothed out, but not entirely flattened on this collection of six pieces. Stringed instruments have been processed to form expansive, slow building drones that cascade and immerse the listener. There is a sense of drama in these pieces, with subtle details shimmering in the spectral haze. Album opener “An Indeterminacy Of Silence” takes its time to fade into full volume, adding layer upon layer of harmonic colour, with occasional chord changes that steer the track in subtle new directions.
At times the material is static, but dense, like on “A Shape Within A Material”, where a sustained cluster of chords create cinematic tension. “From The One To The Other” is quieter, more restrained. A soft hiss dances on the periphery of the track, balancing out the frequencies between low-end ebbs and mid-range dust. These differences in tones are always complimentary, never competing, and allow the listener to really sink into the spaces between them.
The final piece, “The Passing By”, is an achingly beautiful way to close the album. An orchestral-like section that reminds me of Fennesz’s most heart-wrenching work, but minus the grit and noise. It shows that, despite being process-oriented and conceptual in nature, Jensen’s work is not without emotion.
It’s late October, and we’re starting to review the project schedule for 2019.
One of the more ambitious projects is an Ambient/Jazz/Drone/Ether Jazz hybrid paying tribute to the A New Wave of Jazz ensemble, Tonus (various new, Avant-Garde, Jazz lineups, spearheaded by Dirk Serries [whom I’d like to thank for allowing me to preview the three latest TONUS offerings).
I say “ambitious” because it’s just that: a difficult blended mix of sound that will probably top out at somewhere around 80 minutes. We’re starting with 14 hours of music & are whittling that down to 3 hours via editing – but will still need to cut that roughly in half (either by shortening the compositions or stacking tracks on top of one another to play simultaneously – which in & of itself is a mini-project).
This will most likely debut as an ‘e l e m e n t s’ side-project in the November to January time-frame, (in 2 parts).
A new mix-collection of sleepy ambient & drone compositions, l-o-n-g
fades (1.5 – 2 minutes) & entrenched/encompassing audio. It begins with
a s-t-r-e-t-c-h-e-d, excerpted section of track 4 (another piece of which is
segued in-between tracks 8 & 9), contains several custom audio mash-ups
& was inspired by the cover art – which is a shot of earth’s sunrise from the silence of outer space.
It’s always interesting to me how a mix takes shape/evolves. This originally ended with track 7. But because I hadn’t used anything from The Circular Ruins in awhile, I went searching on DataObscura (track 9) . . . & then an email from Stroboscopic Artifacts (track 10) hit my inbox . . . : )
01 Mount Shrine – Lifeless Indoors (stretch edit)
02 Eyes Cast Down – Exquisite Divination of Patterns
03 Susperia Electra – Free Floating in Space [expedition 24]
04 Mount Shrine – Lifeless Indoors (full track)
05 Lucette Bourdin – To the Stars
06 Mystified – The Luminous Deep II (Urban Discourse edit)
07 Broken Harbour/Ambient Landscape – Wavetable.1 …….(Geometry of Shadows+Reflecting Pool – treated mashup)
08 Dziadosz Mrenca – Mirage (Spheruleus Rework)
09 The Circular Ruins – Vanishing Shore
10 The Lotus Eaters – The Idea of North
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
Kompakt‘s next Pop Ambient compilation comes out on November 30th, 2018. The label’s calling it a “change of pace” compared to previous entries in the series, in that it focuses more on acoustic and avant-garde ambient styles.
“The 100-percent kick drum-free Pop Ambient series is the most endearing and enduring concept that I have had the pleasure to curate,” says Kompakt boss Wolfgang Voigt. “For this special edition, I create a homogenous experience that would both appeal to our followers and continue our tradition while integrating new micro-facets from neighboring musical universes as much as possible.”
The tracklist is full of previous contributors to the series, including Yui Onodera, Leandro Fresco, Thomas Fehlmann and The Black Frame (AKA Jörg Burger, who records under monikers like The Bionaut and The Modernist).
Tracklist
A1 Thore Pfeiffer – Alles Wird A2 Coupler – A Plain Of A3 The Black Frame – The Uncertainty Principle B1 Kenneth James Gibson – Gone Too Soon B2 Morgen Wurde – Schien Immer feat. Maria Estrella C1 Gregor Schwellenbach – Rot 2 C2 Last Train To Brooklyn – Bluebird C3 Max Würden feat. Luis Reichard – Zweitens C4 Thomas Fehlmann – Karenina D1 Leandro Fresco – Araña De Vidrio D2 Yui Onodera – Cromo 3 D3 Triola – Adren D4 Max Würden – Core
Detailed, immersive, and expansive organic soundscapes that will encompass and entrance. Stand here awhile, one step beyond, and experience it unfold before your eyes (to the very end).
Composed in the Spring of 2018.
Performed, mastered & designed by Anthony Paul Kerby.
Watch this new clip of the Bristol project in action…
by Robin Murray
Ishmael Ensemble are sometimes few, sometimes many, but always operate with the same questing spirit for innovation.
Essentially rooted in jazz, the project’s outlook blends club culture, left field electronics, and much more into an unholy blend.
Recently returning with an essential new seven inch – named Single Of The Week in London vinyl haunt Sounds Of The Universe – Ishmael Ensemble are currently working on a trilogy of releases, all inspired by Bristol and its surroundings.
The second release is incoming – order the first installment HERE – but we’ve been handed a new live clip.
Opening with ‘The Chapel’ and it’s swirling blizzard of electronics, that incessant horn line gradually finds a way to the front, the analogue and humane asserting itself against the digital swarm.
‘Full Circle’ is a sheer ensemble piece, each instrument interweaving around the next to produce something far larger than the sum of its parts.
Ishmael Ensemble remain an inspiration – we can’t wait to see where they go next.
