We’ve got some temporarily discounted items for you this week from fellow Oregon label, CRYO CHAMBER, and sale prices will be good through September 1st or while supplies last.
“Cryo Chamber is a global Dark Ambient Record Label with its home in Oregon, USA. Run by Simon Heath of cult projects Atrium Carceri/Sabled Sun, we focus on cinematic soundscapes of the highest quality; this due to the philosophy of sound design that our artists use. Our works are often featured in films, games and art installations, and are described as dark soundtracks for creatives. We portray distant worlds, dusty cathedrals, damp forests. We field record in ghost towns, abandoned subway tunnels and on dwindling mountain paths. Our aim is to transform your room into another place in time and space.” –cryochamberlabel.com
The two bearded Swedes join forces on this collaborative album. Black Corner Den is the result of long winter studio sessions separated by the atlantic ocean but made possible by the internet. Lonely moments in the company of the night lamp, overlooking the messy pile of tape loops while the machines hummed and the piano played until the morning.
Exploring the opium dens at the end of the 19th century this album takes you deep into the soothing dreams of dead poets.
“The streets lay silent as the floor creeks under your bare feet. The old loft lit by a wax candle, it’s light dancing over your oak desk. You grab the vial of black ink and the leather bound book as you scurry out the door into the humid night. You pass trails of fire as the lamplighter tends to the myriad lanterns adorning the bridge. A left turn leads you down a set of stone stairs where the satin clad lounge welcomes you in.
Sweet smoke lingers in here where gentlemen gather to dream about the black sea. Your booth at the far end stands prepared. A pipe, tinderbox and purple pillow for a tired head. You have a friend tonight and it calls itself the Black Corner Den.”
Pär Boström’s dreamlike soundscapes combines with the careful melodies and elegant structures of Simon Heath. The perfect soundtrack for decadent nights or introverted reading sessions, preferably combined.
In 2014 Cryo Chamber got some of the most prominent dark ambient artists together to synchronize their studios during a year of collaboration creating the album Cthulhu in tribute to H.P. Lovecraft. With Azathoth Cryo Chamber double the effort with a 2 CD release follow up. No less than 20 artists has been working for the last year to synchronize and co-create Azathoth. Azathoth is a collaboration NOT a compilation.
Azathoth is an Outer God in the Cthulhu Mythos and Dream Cycle stories of H. P. Lovecraft and other authors.
Azathoth’s precise appearance is only hinted at throughout the Mythos, and indeed may be unknowable by mortal beings. It is described as occupying a position outside of the universe, where it is attended by a cohort of alien servants.
A two-hour dark soundscape album recorded by 20 ambient artists to pay tribute to H.P. Lovecraft.
Dark sounds from dreamy dimensions to never ending cursed forests. Join us in the ritual of lust for the Black Goat of the Woods.
Shub-Niggurath is an Outer God (or Outer Goddess) in the pantheon. She is a perverse fertility deity.
An enormous mass which extrudes black tentacles, slime-dripping mouths, and short, writhing goat legs. Small creatures are continually spat forth by the monstrosity, which are either consumed into the miasmatic form or escape to some monstrous life elsewhere.
Of all the mythos deities, Shub-Niggurath is probably the most extensively worshipped. Her worshippers include the Hyperboreans, the Muvians, T’yog of K’naa, and the people of Sarnath, as well as any number of druidic and barbaric cults. She is also worshipped by the non-human species of the mythos, such as the “Fungi from Yuggoth” (the Mi-Go) and the Nug-Soth of Yaddith. With the proper occult paraphernalia, Shub-Niggurath can be summoned to any woodlands at the time of the new moon.
So is this a compilation?
No, this is a collaboration and huge undertaking. 20 artists linked studios and sound for over a year so that they could work with each other. This led to a deep exploration of the Mythos and Shub-Niggurath
2 CD album comes in a Deluxe 16 page Hard cover DigiBook. Artwork is served on Matte Laminated pages that makes the artwork stand out. A journal with entries by the seeker of the Black Goat of the Woods with a Thousand Young, as interpreted by writers Donald Persson & Alistair Rennie.
Pär Boström of cult project Kammarheit presents us with his side project Cities Last Broadcasts second album, The Humming Tapes.
On this album Pär Boström explores his fascination with old seances and the early 20th century. Reel-to-reel tape recorders and de-tuned instrumentation combined with modern mixing techniques creates an album that sounds haunted, but also careful and nurturing.
Pär has with this work taken yet another step forward in his production skill set squashing any doubt that he is one of the most unique artists in the genre with his unorthodox approach to recording his sounds.
Three veteran producers in the genre, Apocryphos, Kammarheit & Atrium Carceri, collaborate on this behemoth of an album. Each utilizing each others strengths to bring forth a dark and emotional ride through distant memories.
Onyx is a soundscape journey related to the reflection of dispirited memories and obscure sorrows felt by mankind. With the multitude of techniques used by each artist, it also reflects the rich history of the dark ambient genre and how it has progressed through the decades.
The signature analogue darkness of gargantuan caves of Kammarheit is combined with the sacral and emotional layering of Apocryphos and the rhythmical bass throbbing and isolated pianos of Atrium Carceri.
This album was created by cross linking 3 studios in Oregon (US), Pennsylvania (US) and Umeå (Sweden). It took over 3800 lines of studio notes to finalize the album.
A two-hour dark soundscape album recorded by 20 ambient artists to pay tribute to H.P. Lovecraft.
Field recordings from foggy towns to desolate mountains. Deep space drone and crackling amplifiers combine into a black sky devoid of stars.
Yog-Sothoth is a cosmic entity and Outer God of the Cthulhu Mythos and the Dream Cycle of H. P. Lovecraft. Born of the Nameless Mist, he is the progenitor of Cthulhu, Hastur the Unspeakable and the ancestor of the Voormi.
Yog-Sothoth is omniscient, and is locked outside the universe, meaning he knows and can see all of space-time all at once, that there is no secret hidden from Yog-Sothoth.
So is this a compilation?
No, this is a collaboration and huge undertaking. 20 artists linked studios and sound for over a year so that they could work with each other. This led to a deep exploration of the Mythos and Yog-Sothoth
2 CD album comes in a Deluxe 16 page DigiBook inspired by Joseph Curwen’s tomes.
We’re doing a big sale this week on lots of heavily discounted items that we only have one or two copies left of on our shelves – super low bargain prices are good through August 25th or while our extremely limited supplies last, so grab them before they’re gone!
Digipak. “Suspended atmospheres, a mix of ageless sounds are the essence of Otherwordliness. Sounds that meet along border lines, beyond wordly dimension. Every moment is incomprehensible, every space is far, it becomes horizon when it comes in contact with the eyes, every fragment of life is a sound that it gets lost into infinite. We can only listen.” -aliodie.com
Nights in Nubiland is a trip into fantastic territories. Nubiland is is the place of the Clouds, where the landscapes are attended between midnight and the dawn… before the sunrise. This new album start a new chapter for Aglaia. Pure electronics, new sounds, but above all we feel a new compositive spirit, that connect the therapeutic music of the beginning into new spontaneous forms… imaginary gestures, that without losing the sensibility and the mystery of the first compositions, expand the language into the personal expression of an art form. -aliodie.com
A collection of new and previously released compositions from this interesting ambient soundscape artist. Many of the tracks seem to suggest watery landscapes, with thick, murky, wave-like movement. Droning low tones, eerie chimes, as well as slightly musical synths, samples, etc. all have their place here. – Hic Sunt Leones
Collectible digipak printed in black on silver, in collaboration with the American graphic artist Joseph Uccello.
Taking basic improvisations only from sounds produced by Khen (mouth-organ from Thailand/Laos) and processed by different controls like filters, pan and multi-effects, Stefano Musso looks for a vibrational enviroment that is like a special point of view, where time changes his meaning and sometimes becomes absolutely relative, finding a place for contemplation, like being in the clouds and breathing with the sound of the spheres. Observe the circular harmony of seasons in his never ending flow, it speaks like old poetry that is familiar to the soul.
We begin with A Gift” which is a composition of whistles and highly processed accordion–immediately the recycling projects of Vidna Obmana, for example Landscape in Obscurity, come to mind. Gradually the accordion tones build up to form a harmonic mass of sound, rapturous in tone. Pretty good for an accordion! The next two tracks launch right into traditional Alio Die territory–repeated “melodies” featuring processed traditional instruments alongside rich organic drones. This is what we’ve come to expect and love in an Alio Die CD. Alio Die has mastered this type of composition–not to mention the fact that the types of tracks he does are unmistakably Alio Die. There are not nearly enough Alio Die discs to be tired of the style yet. The attention to mystic tone is so deep that it is hard to not be entranced even with minor stylistic tweaks to the Alio Die-style proper. A standout track is “Fragile-struggente,” which is a very simple mixture of melancholy synth loop accompanied by the sound of a lemon peel burning on a stove (according to the liner notes). It’s a gorgeous little piece, with incidental noises and creaks that remind me of Ora. It’s tracks like this that have beguiled me with Alio Die from the start. A simple setup leads to pure ambient ritualism. A still later track, “Still Here!” reminds us that past drone albums are not far off–I would not be surprised if this were an outtake from Incantamento. I have always imagined Stefano Musso as some crazy Italian guy making ambient records out in the middle of nowhere. Sure, he’s got an email address, but who’s to say this isn’t some strange sham? Whenever I pop in the Alio Die album of choice, it’s not idle soundscaping with strange noises, it’s not a journey into deep, dark space like so many other ambient releases fine and not so fine. This is the sound of a man with wild hair performing a magickal-with-a-‘k’ ritual on the top of a mountain amidst blowing crosswinds. As we all well know, black magic is not performed without consequences–Musso has tapped into some leyline of arcane energy, and it’s seeped into the music.” -Review from Hic Sunt Leones
Tommaso Cimò (Zeit) is back together with Alio Die composing the long flow raga-drone of “Raag Drone Theory” with acoustic sessions recorded in the cloister of the Annunziata in Lunigiana. The warm tones of acoustic dulcimer and zither are mixed with the sound of a shruti-box, while the rest is done by the usual drones & loops dispensed with appropriate measures by the two. Charming quiet music. -oldeuropacafe.com
CUBE music is designed to blur the architectural spaces that we occupy during our waking hours of the day. Whether it be an office cubical, a personal listening space or subtly defined spaces within an architectural enviroment. CUBE music is music at the edge of perception, music meant to expand interior space. -aliodie.com
A land hidden from controled pleausures of rationality among soul an internal platonic part, it is the first andoncy CD by Lorenzo Scopelliti, single musical expression of Saffron Wood, rich in enthusiasm and love, emboried between discoring and long harmonious. The Friscalettu flutes, the impulsive tibetan trumpet and his bells. The vibrating harmoniuns dances of the sicilian Maranzannu and the Vietnamese Danmoi, the evocative sonority of the Indian Dilruba and the Egyptian Rebab, the shy puffs of the Shakuhachi and the indian Bansuri, the cymbals, the ceramic and glass percussions, are in this way translated and trasformed omeopathicly in Platonic Philosophy” expressing the possible prophecy among soul, ground and the acoustic steps of a special peace…. where we often like to find ourselves.”-Review from Databloem Records
Nosesoul project is pure improvisation, my sessions have been improvised and directly mixed with Francesco’s voices. These sounds are pure breathe, pure prayers, pure mourns and pure pleasures to me. I hope this experience won’t leave me through my next years. -TeoZini/Opium
Ambient experimental sounds combining the ‘Francesco’ voices with improvisational programming from Opium. Francesco Paladino here provides vocalisations that range from moans, whines and nasal tones through to various mutterings and mournings. Teo Zini or Opium surrounds these utterances with layers of ambient electronic texture and processed ‘wave editings’. There sultant sound is a mysterious organic sound installation that is suggestive of various dream states – jangling bells, buzzing flies, birds, water droplets and hypnotic drones hang in the aural air – ambiguous, evocative and unsettling.Titles add to the dreamy mood of the music – ‘grasswall painted green’, ‘me, thesky sleeping’, ‘sunrise overflow’. -aliodie.com
Drift towards the adventurous land at the border of dream. A happy game of lost and found in a different dimension…
Sounds mainly by Asian instruments like Kehn, Ney, Shakuhachi and field recordings made in Thailand. -oldeuropacafe.com
Rudy Adrian’s DESERT REALMS explores the spectacular stillness and vast landscape of the American Southwest desert through eleven beautifully crafted and deeply serene soundscapes. Explains Rudy, “I was fortunate to spend a weekend exploring The Arches and Canyon Lands National Parks in Utah, USA. My tour guides were electronic musician Robert Carty and his partner Patricia Sandoval, who showed me a number of their favourite locations in the North American desert. On returning to New Zealand I became interested in creating music inspired by that journey.” Rudy’s compositions are by themselves both vast and serene, but an additional level of emotion is provided by the poignant and moving flute expressions of Nick Prosser on a few of the tracks. Prossers stirring musical statements interact with Rudy’s vast soundscapes, filling the spectacular sonic vista with just the right amount of life and feeling; reminding the listener that although the desert realms may appear at first stark and barren, they are in fact full of life and captivating beauty.
a small, good thing are the hybrid offspring of ethno-tribal-ambient heavyweights O Yuki Conjugate and Purr. ‘Slim Westerns’ is their debut album, an ambient rodeo for the vaporspace. Imagine equal portions of gauchos, guitars, and peyote simmered for hours over a slow fire, and served with a big bottle of tequila. Add a dash of outter space and you’ve got a small, good thing. three northern Englishmen who’ve never been to America, writting music for Westerns that will never be made. ‘Slim Westerns’ is the result their fascination with The West and it’s mythology. After five years of writting and recording in Leeds, York, and London, a small, good thing have produced a album of sly sketches for lonely landscapes, a desert sort of music: slim westerns, maybe.
a small, good thing are:
Mark Sedgwick acoustic & electric guitars, glissando, keyboard, percussion, jew’s harp
Tom Fazzini guitar, keyboard, tapes, voice, typewriter
Andrew Hulme keyboard, percussion, trumpet, whistles, wildlife
“Graceful and epic cocktail of atmospheric neoclassical passages, Japanese drums and rhythms. The album is released as appealing digi-pack, its design in classical Japanese style was created by Peter Savelkoul. ” –clearspot.nl
A singular long, deep moving, slow and expansive drone-track, built on always changing sonic masses, low frequencies, strong electric-electronic sounds, field recordings, feedback, buzzes, hisses, rough distortion, fading organ chords, cellos and orchestral parts. Alternation of progressive crescendos, ambiental pauses, sudden, dramatic and catchy dynamic shocks. An evolving and extraordinary trip through an obscure sonic journey, convincingly assembled by Italian Pietro Riparbelli (K11, PT-R) and Belgian Yannick Franck (Y.E.R.M.O., Idiosyncrasia).
“Fantastic one-tracker collab. that celebrates the beauty of shimmering & overtunic drones !! Melancholic majestic sounds that are sometimes near to the border to noise, sometimes move into very subtle fields, with organ-like sounds at the end. Really great, highly recommended for any Drone-lover-boy or girl !!!”
“Mark Spybey’s been having his way with rhythm and noise for so long that the motifs he’s ascribed over the years are practically commonplace amongst the novice post-industrialist, or hell, the post-whatever. His is a sound that summons any number of nocturnal beasties from the ether. Throughout the last 25-plus years, he’s plied his trade and remarkable sonic mojo both solo and in the company of many a forward-thinking electronic engineer. His collaborators include cEvin Key, Eric Pounder, Jean-Yves Theriault, Jarboe, Mick Harris, Martin Atkins, James Plotkin, Mark Nugent, Orphx, Phil Western, David Wright, Zev Asher, Darryl Neudorf, Ryan Moore, Niels van Hoorn, Kinder Atom, Evolution Control Committee, Chris Connelly and others. It’s as Dead Voices On Air, however, that some of his most startling ideas emerge fully-realized and fully-armed; of course, to hear Spybey tell it, once art leaves the nest it’s up to (once again) the recipient to assume the role of engager: “My work is created in isolation from external references. That is the ideal I strive for. Only in this way is it possible to allow the listener an opportunity to create their own understanding of the music, or, as the artist Joseph Beuys once said, ‘One should resort to interpretation only in an emergency.’”
Reflections On Black is HALL OF MIRRORS’ first album: a dark transmission from the hearts and minds of AMON and NIMH. Instruments used to make these sounds were constant companions of the artists for days-on-end. This document utilizes an immense range of synthesizers and obscure electronic equipment. Complex compositions created with various sequencers, backing tapes, field recordings, electric guitar, and masterful audio processing techniques, combined with expert assembly (mixing/digital editing). With “Reflections in Black”, AMON and NIMH redefines the genre of dark ambient music. A definite buy for fans of Lustmord and darker/gothic atmosphere. Isolationistic music for midnight rituals. Post-millennium soundscapes. Intensely foreboding… Like watching storm coluds gather on a late summer night. Darkest beauty personified. silentes.it
“Of the Swedish wave of Dark Ambient acts from the 1990s, Desiderii Marginis is one of the few still active and definitely one of the finest. Desiderii Marginis has created and developed its own unique sonic palette merging digital and analogue: melancholic electronica with electroacoustic elements and intravenous rhythms. Over the course of 20 years, Johan Levin released 7 full-length albums (Cold Meat Industry, Cyclic Law, Kaosthetik Konspiration). His latest offering entitled “Thaw” compiles the compilation appearances and adds 3 tracks from the “Lost Signals From Unknown Horizons” split (Beast Of Prey, 2004). On the one hand, it is simply a collection of rare tracks, but, on the other, it may serve a purpose of a “best of” album. With the chronology unaltered, it gives you the full picture of the project and its progress. It is a history lesson of the last 20 years in sonic melancholia of Desiderii Marginis.” -coldspring.co.uk
Wind [Patagonia] is the third part of Spanish sound artist Francisco López’s already classic trilogy of the Americas” which started with La Selva, followed by Buildings [New York] (both released by V2 Archief, Netherlands).
An immersion into the sonic matter from micro- and macro- environments dominated by wind in Patagonia. A vast barren space shaped and inhabited by the ever-changing forces of unmuted plants, rocks, sand, snow, and ice. An irregular broad-band environment of relentless strength and richness. And above all, a tour de force of profound listening.”
Herion is an Italian trio whose members include Emanuele Errante (known to Hypnos customers for Humus on Evan Bartholomew’s Somnia label), Enrico Coniglio (Aqua Dorsa project collaborator with Oophoi for the album Cloudlands, he also released Sea Cathedrals solo on Silentes), and Elisa Marzorati.
They’ve created a beautiful and compelling combination of delicate musical structures with “glitch” components and strange, experimental little samples. Always a pleasant, peaceful listen, Out and About brings a blissed-out classical musicality into connection with an artful edge. This combination of elements results in an especially sensitive, moving set of mood pieces. Somewhere between chamber music and minimalism, between lightness and melancholy, this trio balances elements uncommon in ambient music.
The Path of White Clouds explores a serene and otherworldly soundspace. Meditative and gentle, these six tracks are sure to appeal to listeners who enjoy the more spacious ambient works released by Oophoi during the height of his Umbra and Penumra sister labels. The sound sources utilized here lean more toward the organic and physical instruments, and electronic processing and synthesizers are used subtly to accentuate the rest.
This album has a ritual feel common to many of Brand’s recordings, though Avatara is more ambient and less percussive. The recording starts out in a place of low-key contemplation and evolves through distinct stages and moods, though it is always gentle and meditative.
Steve Brand describes some of the inspirations behind this album:
Avatara is Sanskrit for “descent” in the sense of a deity’s descent from heaven to earth. Avatara is inspired by the various avatars of various ages and cultures…Yeshua, Quan Yin, Buddha, Brigit, Krishna, Saint Germain, White Buffalo Calf Woman, and others. I’m fascinated by the idea and the various stories in various ages and cultures of humans becoming “ascended masters,” or avatars, non-human beings that still are attached to humans and choose to returns to Earth to assist them. The stories vary, and almost every culture has its masters, but one thing is consistent throughout each of their stories, they’ve realized a more expanded expression of being and awareness, of what we are and what we are capable of, and return to assist other human beings.
The first collaboration between two artists well-known to Hypnos listeners and fans of ambient & experimental music in general.
While Intangible has a meditative and tranquil drifting quality, it also incorporates more melodic and rhythmic elements than most ambient music of the present day. Listeners who like their ambience musical will enjoy this as much as those who like their drones deep and mystical.
The Martian Chronicles, inspired by Ray Bradbury’s story collection of the same name, sounds very much like the soundtrack to a mysterious and strange science fiction film that exists only in the imaginations of Seren Ffordd and Oöphoi. These seven tracks, while slow, moody and at times weirdly alien, also evoke a drama and emotional depth absent from much recent ambient music. It’s a complex and beautiful mixture of electronic instruments, field recordings and percussion.
Let the Stars Assume the Whole of Night is a wonderful mix of sounds and atmospheres: dark without being spooky, melodic but not pretty, listenable, but too nervous and somber to ever become predictable. These pieces are more composed and structured than most ambient music, more akin to the soundtrack for some dark and moody piece of cinema. Imagine the score to an undiscovered work by David Lynch or Andrei Tarkovsky and you have the idea.
Sanfilippo’s work ranges from more melodic and structured to ambient drones with more a subtle and subdued musical component. Urbs, Sanfilippo’s first project released with Hypnos Recordings, falls nicely in the middle ground among the artist’s previous work. It’s an intriguing combination of ambient textures with location sound recordings, along the lines of the classic Hypnos releases Sonic Continuum (Modell and Mantra) and Silence Speaks in Shadow (Paul Vnuk Jr.), but with more of an urban or cityscape flavor.
The title Urbs derives from the prominent incorporation urban sound environments, recorded by Sanfilippo in urban environments such as train stations, streets, bars and other public areas to explore the boundaries between the textural sounds which surround all of us day to day, and the nature of composed sound art such as music. These “real world” sound textures merge with more traditional electronics such as synthesizers and samplers, leaving no doubt as to the composed and “intentional” nature of these soundscapes.
Gentle and evocative, subtly textural and transporting, Urbs is something we genuinely expect to become a long-term favorite among Hypnos releases.
The Deception of Reality is the fourth Numina release on Hypnos, the first since 2007’s Shift to the Ghost. Still present is Numina’s trademark sound, combining abstract deep-space textures with subtle melodic and rhythmic elements, but with a new emphasis on more vivid sonics. Listeners seeking smooth, creamy synthesizer background textures will still find them, here overlaid with more “up front” accents. Extra care has been taken in the mixing and mastering to preserve the separation and placement of individual instruments, and we believe the result is the best pure sound experience Numina has ever come up with.
We’re very pleased to make available this archival 2CD digipak reissue of two of Robert Rich’s earliest albums, Sunyata and Inner Landscapes. Both albums were originally released on cassette, then issued for the first time on CD by Hypnos in 1999-2000. Two classic Robert Rich albums together in a deluxe package including 2CDs, 6-panel digipak and 8 page booklet insert.
Hypnos is pleased to collaborate with Robert Rich on this deluxe reissue of Rich’s out of print classic ambient drone work.
Originally released on cassette individually three decades ago, Trances and Drones were later released together on double-CD by Extreme (1994) and Release (2000). Our new edition, designed to be the ultimate archival version of an essential ambient/drone classic, includes a beautiful 6-panel digipak with 8-page full-color booklet insert.
Often ambient recordings pursue a single sub-genre or niche — dark ambient, ethno ambient or drone, for example — and stick faithfully to it. Forget the Past exhibits a pleasing diversity, with plenty of gently atmospheric stretches, rthythms that sometimes fade out and at other times build to a wicked trance churn. The sound is clean, yet derives from a full list of natural and organic sound source, and a diverse set of field recordings. One track lays gritty, hallucinogenic flute lines over a slow-swooping psychedelic rhythm mechanism and incantatory female whispers and recitations like an overheard magic spell. Another mixes bird sounds and subtle electronic atmosphere with distantly echoing percussion, creating something like a soundtrack to a lost film by Alejandro Jodorowsky. Percussion with a tribal or ethno flavor is used in an unusual way, not to fake a specific brand of exoticism, but to create a sense of something both intuitively familiar and also strangely foreign.
Forget The Past covers a lot of sonic ground and a broad range of moods, but it’s always unpredictable and fresh, while remaining smooth, introspective and restrained. We’re very proud to bring this recording to Hypnos listeners, and trust that the sample clips will convince many of you to give this a full listen.
ICE DIVING is an album composed around a theme suggested by the title: a soundtrack to an underwater journey. Like the title, the cover photo (from an actual ice diving expedition in Antarctica) gives a sense of the sound worlds evoked by Subradial’s music. Many ambient recording artists apply titles to their music intending to suggest a theme, but here the effect is especially strong – an extraordinarily visual and immersive sound journey, with a wonderful balance between atmospheric/drone elements, and more musical or rhythmic components.
Incorporating a blend of rich analog and modular electronics along with digital synthesizers, plus piano and guitar, Of Those Things Left Unsaid evolved over the course of thirteen years’ creation. Composed and recorded by Dave Fulton, with contributions from Jamie Haggerty and Giles Reaves, a completely organic approach to recording was taken, using a variety of vintage electronic synthesizers and early 8 & 12 bit samplers. While much modern electronic music is primarily sequence-driven and quantized to a degree that renders the music more robotic than human, Fulton tried to use computers only as recording the performances, not driving them.
Perhaps Fulton’s most emotive and personal work, Of Those Things Left Unsaid should not only appeal to existing fans of Fulton’s earlier solo and collaborative works, but also those listeners seeking a blend of retro and modern electronic sounds with a smooth musicality.
Hello all, we’ve got some newly-added and freshly-restocked items for you this week from the 12k label. They’re sure to move quickly at just $11.99 each, but supplies are limited, so visit the SOUNDSWIM store soon to get your copies!
“Between You And The Shapes You Take is the second collaborative album by Richmond based musician/sound artists Stephen Vitiello and Molly Berg. As with the duo’s previous release, The Gorilla Variations (12k2013, 2009), tracks are created out of improvisations and sculpted through editing. Molly Berg’s clarinet and vocalizations tend to cover the CD’s lyrical content while Vitiello’s guitar and processing covers a good deal of the textures. Two of the tracks on the CD feature violin by the multi-talented Hahn Rowe, once a member of the group Hugo Largo.
There’s an immediate air of melancholy and longing to a number of the tracks. An initial demo recording for the album was remarked on by a listener who said “I’ve fallen face first into a machine that erases the memories of an ended relationship as if it were a sound instead of a real life that fell in love with the girl again in the end.” A strange amount of truth exists in that statement and the entirety of it was momentarily considered as the album title. Instead, Between You And The Shapes You Take is a borrowed quote from Wallace Stevens’ poem The Blue Guitar.” –12k.bandcamp.com (Follow link to read more about this release.)
“2007 saw the album debut of Moskitoo with 12k’s Drape (12k1041). Since then, Moskitoo (Tokyo’s Sanae Yamasaki) has been busy performing live, recording and releasing new work (including sound/voice for Japanese media/television and iOS apps) and expanding her talents as a visual artist in Japan. After six years of growth as an artist she presents her sophomore album, Mitosis.
Mitosis begins with “Wonder Particle,” a track that very much sums up Moskitoo’s intentions: to embrace the digital with not only a human, but a distinctly feminine touch. Wispy, layered vocals swim around rhythmic fragments and warm insect-like noises. The music is strange and otherwordly, perhaps the soundtrack to an evening stroll on a warm night in a bustling alien city. There are lights, swarms of sound, a myriad of conversations blended by a thousand different stories of passers-by always on the move.
The inspirations behind this second album are not far away from these ideas. Moskitoo herself was thinking of journeys, even ones on the cellular level. Mitosis, or the division of a cell into two identical sets of chromosomes, was a point of departure for Moskitoo as she explored the ideas of division, expansion, the human body, and small particles of matter. One can draw a correlation between these ideas and her music as it nervously wiggles it way through sounds both liquid and electronic.
Mitosis is a dreamy, playful and serious album that shows Moskitoo’s talents as a sound explorer and songwriter. It is at once both catchy and curious, a question that doesn’t always need an answer.” –12k.bandcamp.com
“12k presents Every Action, the 3rd full-length release from the UK’s Motion (Chris Coode) and the follow-up to 2002’s critically acclaimed Dust (12k1019). In addition to his work with 12k (Dust, as well as a collaboration with Doron Sadja on 12k’s recent Two Point Two compilation, and an MP3 only release on 12k’s term. series) Coode has worked with Fat Cat and also released the debut Motion cd Pictures (now out of print) on his own imprint.
The work on Every ActionPictures was produced, sharing that release’s more obvioius tonal and melodic content. Using a stipped-down setup of studio equipment Coode crafts his sound by sampling, processing, resmapling, reprocessing.. back and forth, like generations of tape transfers or photocpies of photocopies, until the final results are smeared and distorted ghosts of the original: detuned, groaning, fragmented. Despite the digital sources, Coode’s music is highly organic, utilizing randomness, openess and dysfunction to create an oddly ambient and quieting sound made from stressed melodic flickering and skittering, tones, drones, and overprocssed textures.
Motion is important in Coode’s work, too; slow motion formed in grainy timestretches punctuated by dynamics that swell and disappear creating odd suggestions of performance, structure, and deconstruction built from his always live mixdowns.” –12k.bandcamp.com
“In 1995 Steve Peters and Steve Roden toured as a trio with singer Anna Homler; sometimes they would vocalize behind her, and they liked the way their voices blended together. They then spent about 15 years saying that “someday” they should record a voice-based project together. Aside from the physical distance between them, the problem was always: What would we sing? Neither wanted to write or sing lyrics.
Inspiration came in the form of a book of Japanese jisei – poems allegedly written by monks on their death bed – printed in both English translation and Romanized Japanese. Phonetically pronouncing the Japanese reminded Peters of the technique Roden has used of systematically chopping up the syllables in English texts to transform them into sound poems. Since neither of them speaks Japanese, it seemed like a good place to begin.
The two of them applied for a residency at Jack Straw, a non-profit recording facility in Seattle that gives grants of studio time. They had no exact plans other than they intended to avoid electronic instruments, or directly referencing the poems’ literal meaning, or imitating any Japanese musical idioms or “Zen” stereotypes. Culling some of the poems that made references to sound and noting them on 3×5 cards, Peters and Roden sorted the cards into four groups according to the seasons of the year that the poems represented, divided the cards between them, and taped them to their music stands. They then sang random fragments from the various cards – a word here, a line there, maybe backwards, maybe the English translation. They made no effort to keep the poems intact or retain any of their meaning, instead treating the material simply as phonemes to put in their mouths.” –12k.bandcamp.com (Follow link to read more about this release.)
“In April 2010 12k recording artist Seaworthy (the recording project of Cameron Webb) and Matt Rösner travelled to the south coast of New South Wales to undertake a detailed field recording study of two coastal lake ecosystems at the Lakes Meroo and Termeil. The aim of the project was to explore the sounds of a fragile coastal Australian environment and to build from those sounds unique musical pieces that provide a place for listener contemplation and reflection.
Field recordings were taken from the lakes and surrounding beaches, forests and streams at different times of the day. Various equipment including a hydrophone, a shotgun and stereo microphones were used to capture the natural sounds of each lake. During breaks in field recording, the artists set up recording equipment in a nearby lakeside cabin. Using acoustic and electric guitars, a ukelele and electronics, a series of improvised performances were documented. On the last day of the trip, with the experience of the recording process still fresh in mind, rough arrangements were created from the field recordings and improvised sets. Matt Rösner then took these arrangements back to his studio in Myalup – a small coastal town on the opposite side of the Australian continent – to mix and finalize the production.” –12k.bandcamp.com (Follow link to read more about this release.)
“Akari is the third album from Tokyo duo Illuha. Following 2011’s debut Shizuku (12k1067) and 2013’s Interstices (12k2028), Akari takes the next artistic step for the band. While Shizuku was recorded in the US and completed separately by the artists, Interstices captured the duo creating their exceptionally detailed music together live during a Japaneses tour. Akari, in turn, is the first studio album where Illuha recorded and mixed together, throughout the entire process. The beautiful st-robo studio in Tokyo put a collection of amazing equipment at their fingertips, from vintage mics and outboard gear to a vast collection of instruments, both acoustic and electronic. Their writing sessions were numerous and long with details meticulously obsessed over for nearly a year. The result is the most bewildering music Illuha have created to date. An album swimming with the most delicately tactile sounds and instrumentation that draws the listener in with hushed, motionless attention.
While Illuha’s Corey Fuller and Tomoyoshi Date are often drawn to the most sparse notes of Rhodes and Wurlitzer electric pianos, acoustic grand piano and guitar, the breadth of instrumentation is partially what makes Akari so abosrbing. They have succeeded in creating their own universe of sound, so beautifully recorded, where each element not only has its own space but connects and interacts so fluidly with the other sounds. It is as if they are placed perfectly by nature, the compositions are fluid and organic, a far cry from anything calculated or structured. It is this open space that the music exists in which in turn defines the music itself. There is ample room to breathe within this forest of gentle tines, bubbling analogue synthesizers, clicking percussion and quiet field recordings. This is subtlety at its most refined; hushed without being saccharine, distant without being morose.” –12k.bandcamp.com (Follow link to read more about this release.)
“With their distant, icy ambient music in shades of pale blues and greys, the Norwegian duo Pjusk evoke lonliness, time and landscape with their sound that stretches slowly, carefully and patiently through the air.
SOLSTØV is an album made almost entirely from the sound of the trumpet (performed by Kåre Nymark, Jr.), both natural and processed. Pjusk explored it not only as the delicate acoustic instrument that it is but as a generator of tone and nuanced source material. 12k’s Taylor Deupree was invited to provide sonic manipulations of the trumpet with the sound design system Kyma transforming it into delicately strange passages and tones.
Solstøv, the sun, the dust… expansive, shifting, weightless and shimmering. This is an album, epic in its sound and approach, that channels the Norwegian landscape in all of its stark beauty; its cold, its warmth, and its place in the universe. To listen to Pjusk is to sit quietly in an endless night.” –12k.com
“Faint takes as its conceptual starting point the fraction of time betwixt waking and sleep, those fading instants where the light of consciousness dims and one’s connection to ‘clock time’ slowly collapses. Deupree’s material convincingly simulates in musical form the slowed pulse of the body and overstimulated mind temporarily at rest. His sensitivity to the shaping of sound is on masterful display, his deep level of attunement to the unfolding sound evident at each moment.
A restful calm pervades the material that makes it music tailor-made for meditative immersion. Faint achieves a remarkably sustained balance between stasis and activity: each piece feels like an extended frozen moment of serenity while also being a continually evolving set-piece wherein myriad musical episodes occur. The album’s five tracks fold ambient textures and the real-world noises of field recordings in amongst electric piano, guitar, and synthesizers. Listing the elements in such manner obscures the fact that Deupree is more focused on shaping sound, no matter its originating form, into an overall whole whose impact is far greater than the sum of its parts.” –textura.org
“In our, boxed, on-demand world where accessibility and recallability rule we can often forget the importance of the unpredictable or the joy of true discovery. Our lives are increasingly shaped by systems and patterns; downloaded, linked, and stored, that help us live, tell us when to go outside and what we will find when we get there. The mystery of our every day slowly seeps out of our lives like photograph bled of its color by the sun. There are fewer questions and too many answers.
The Endless Change Of Colour exists somewhere between our future and the mistakes and accidents we’ve made along the way. It is a celebration of both the system and the unexpected. Marsen Jules’ latest work is a generative music piece upon a single phrase of an old jazz record split into three audio streams. These streams are transformed into loops which break the original instrumentation down into sound resembling pure waves, harmonics and overtones.These loops play to different time signatures to create phasing patterns that continuously move and dance around each other in a constantly-evolving lattice of sound. Despite it being based on a very strict and limited set of rules the music could, in theory, be endless and ever-changing.
Here, the listener’s discovery is a quiet and engaged one. Ripples and pulses set within a field of color that sometimes feels like water, sometimes like air and sometimes like glass. Electronic tones hum with warmth and the softness of slumber. The patterns are there, familiar to our modern ears, but they’re not always what they seem. The wandering mind steers this one along more than the generative grid on which it was based and The Endless Change Of Colour becomes exactly as its title suggests.” –12k.com
“Compressions & Rarefactions is the fourth solo release on 12k from New Yorker Kenneth Kirschner, who is widely known for epic-length compositions that challenge the forms of modern composition. The album is released as a single CD with a digital download of over six hours of additional music that couldn’t be realized within the time constraints of the CD format. Also included is a booklet of essays on Kirschner’s music from Marc Weidenbaum (Disquiet), Simon Cummings (5 Against 4), Mike Lazarev (Headphone Commute) and renowned visual artist Kysa Johnson, who was also responsible for the album’s artwork.
Kirschner’s music is often described as “challenging,” and certainly he has a unique voice among his peers and throughout the extended genres of his sound. His work tends to hover precariously between the worlds of electronic music and chamber music, likely due to his influences from the worlds of modern classical music, philosophy and science fiction.” –12k.com
This week we’ve got some items on sale for you that have either never been in the SOUNDSWIM store or somehow never made it into the new store after our move, but inventory is extremely limited, so be sure to grab them soon!
Juxta phone and offthesky are two very different coins – the former contains beats and strange electronic rhythms and the latter is a melodic acoustic affair… the glue that holds these two together is mr. jason corder who plays vibraphone/guitar for the rag-a-muffin’ acid jazzish trio known as juxta phona and who also headway’s the progressive acoustic outfit offthesky. when he decided to produce the second juxta phona record (the first of which has not actually been published as of yet), his productions and atmospheric elements permeated the mix… this making this record a right slpit – not quite 100% beats/treats and acid jazz feats like the juxta phona have aimed to carve and not quite the somber melodic micro toned ambience that offthesky parades. it’s as if you added orange juice and apple juice (with a little rum)… tossed it in a blender, and out came… !escape kit!.
Packaged in Experimedia’s custom signature six panel folding tall-slim pack and is protected in a clear poly sleeve.
“Experimedia presents the latest addition to Ian Hawgood’s growing body of work, ‘The Great Allure’. A very personal and heartfelt album, ‘The Great Allure’ amasses six passionate movements into a tribute to the memories of traveling by train. Inverted pianos wrapped in a blanket of distant fog seen peering through a train window dripping with wiped away condensation. Forehead against glass with a melancholy gaze towards the passing landscape. Broken voice and hand claps layer subtle nods to Reich.” -soundcloud.com
Gianluca Becuzzi is known for his projects Limbo, Kinetix and Noise Trade Company. Luigi Turra is a composer of musique concrete, whose main interest is the musical balance between silence and the tactile perception of sound. “In Winter” was recorded 2008-2010, with Becuzzi mostly taking care of field recordings and programming, and Turra playing acoustic guitar and piano. Light as the snowflakes that entitle them, these nine compositions offer dreamy atmospheres that rely on minimal structures and evoke visions of lonely and lazily wintry landscapes. Music for the heart and the mind, delicate representations of quiet moods translated into harmonic sequences that combine environmental synthesis with influences of a refined sophistication. Comes in an outsized gatefold sleeve. -coldspring.co.uk
“The initial idea for (this album) was born after making various field recordings in different places in the Spanish province of Tarragona during the spring of 2010. One year later, the composers crafted the electronic soundscapes and effects seperately from each other to enrich this natural kaleidoscope of sounds.
It all ended up in this continuous 59-minute ‘real living, mesmerizing breathing system.’ This very calming and slowly evolving environmental recording immerses and surrounds the listener with sustained bell sounds, infinite loops and an almost uninterrupted string of singing birds. The second half of the album takes on a bit more experimental/abstract shape, although it turns up harmonic again from the 45-minute mark.” -Sonic Immersion
“Flyover Sound is a collaboration between offthesky and Billy Gomberg. Various guitar and processed recordings were passed back and forth over a period of a year until eventually this record came to be.” –noise.offthesky.com
“File under: Dark Ambient. Alison wait is the gift of the past. Remembrances of long gone days. Childhood memories amplified through the glass of melancholy. A journey hand in hand with what has been and will never return. Dark ambiences melt with guitars & lush synths – come with us to the place where Alison Waits us.” –auralwebstore.com
“LINE is proud to present Live in Los Angeles by the collaborative performance project CHESSMACHINE by Richard Chartier (US) and Ivan Pavlov (aka COH) (RUS).
A certain humor shapes the conceptual dialectics of the CHESSMACHINE live experience. Their interplay suggests the historical confrontation of East and West; an austere and chilling tete-a-tete over the chessboard that reconstructs the somber milieu of a bygone Europe, even as it conveys a kind of absurdist levity through the rehearsed performance of these roles. The use of MAC and PC computer operating systems by Chartier and Pavlov, respectively, becomes the late-20th century manifestation of classic Cold War combatants. Through their engagement, a process of sonic and aesthetic displacement unfolds, such that one player’s strategic manipulation of sound begins slowly to affect and then determinatively shape the compositional technique of the other. CHESSMACHINE‘s live performances take place in real time with color coded staging, uniforms, lighting, and video projections designed by Russian-American installation/video artists Evelyn Domnitch and Dmitry Gelfand.
This live recording of Chessmachine took place on February 25, 2005 at REDCAT in Los Angeles.” –lineimprint.bandcamp.com
‘Nocte Caelum’ was recorded in 1992.
‘Phenomen’ is based on field recordings (various locations, mid ’90s) and recorded in 1994.
‘Betablock’ is based on source material provided by Beta Two Agonist in early 2008 and was recorded in 2008 and 2009.
‘Nadek Pashes’ is a reworked version of ‘Naked Shapes’ (previously unreleased) which was recorded in 1994.
All tracks produced, shaped and imagined by Audela. Tracks 1-2-4 saved from the DATS by Plague. Subtly mastered by Joost Carpentier. Recommended to play with headphones at low volume.” –plaguerecordings.bandcamp.com