#Electro-acoustic

[burlveneer-music]

Shakali - Rihmastossa - "Shakali" is based on the musician's name, but after hearing the music I suspect the similarity to "Laraaji" is not a coincidence

Based in the South Moravian city of Brno, Finnish multi-instrumentalist Simo Hakalisto aka Shakali crafts surreal terrariums of strings, synthetics, wood, and wind, teeming with bio-electronic synchronicities. Rihmastossa further finesses the project’s eclectic lexicon of electro-acoustic world-building, utilizing a gallery of instruments both ancient and advanced: solar-powered sine wave generators, singing bowls, metallophones, microtonal synths wired into tree slabs, lap harps, amplified found objects, percussion filters, flutes. This is world music in the most naturalistic sense – subtle spatial ecosystems of climate, vibration, landscape, and species, as alluded to in the track titles about fungal colonies, extinct birds, rare worms, and pine forests. Hakalisto’s work in various exploratory duos (Gnäw, Lunar Horns, Thistle) has honed his instincts for atmospheric improvisation, but when alone he embeds even deeper into the terrain, acting as conduit as much as creator. Across seven free-flowing fugue states of texture and resonance, his touch simmers beneath the surface, guided by shifting light and hidden hands. Written, performed and produced by Simo Hakalisto. Instrumentation: Meng Qi Wing Pinger, Soma Terra, Tocante Phashi, 5-string and 15-string Kantele, Tocante Karper, Meng Qi Wingie II, Moog Matriarch, modular synthesizer, Gendèr, field recordings, found objects, Critter & Guitari Organelle, percussion, flutes. Soprano Saxophone on 1, 4, 7 by Julian Overall. Singing Bowl on 5 by Matěj Kotouček. Mastered by Jared Carrigan. Design by Britt Brown.

[dustedmagazine]

Marja Ahti — Tender Membranes (Black Truffle)

Photo by Kitti Nurmi

“Vibration and resonance are at the heart of everything. Some of it falls within our hearing range and we call it sound.” This is the ethos under which Marja Ahti operates. The Swedish-Finnish sound artist is open to the possibility that all creation, both human and natural, can be a source for her art. Emerging from the Finnish psychedelic folk underground decades ago, her work as Tsembla revolved around samples that she pulled from the internet. Ahti eventually shifted her focus toward sound creation and environmental recording, releasing new works of art under her own name. Across multiple solo and duo recordings, Ahti explores liminality and transformation, the spaces between states. This fluidity within her work, evokes a gradual diffusion or osmosis that she manages to capture as its happening. Her pieces are also visceral. They churn and writhe, the vibrations radiating outward, provoking a satisfying frisson as they waft through the air.

Ahti is interested in minimizing dichotomy in favor of something more tenuous. This tendency is reflected in the raw materials she sources for her compositions, and how she uses them. Both acoustic and synthetic sounds find their way into the mix, along with field recordings and recordings of her day-to-day activities. Ahti weaves each thread in such a way as to make the individual elements second to the overarching tapestry of harmony that she constructs. The harmonic temperament may arise from an electronic feedback loop, a manipulated bell, a garden sprinkler, or the manipulation of small objects, but it unfolds gradually and commands patience from the listener.

With Tender Membranes, Ahti positions our sensory organs as gateways between our inner and outer selves. She has honed her sound art practice such that the compositions are mature in their subtlety. The tonal palette is deep and rich. Dynamically, there is variety, but the transitions feel incredibly gradual. Microscopic shifts in the harmonic field show that Ahti has fine-tuned her technique, blurring the inside/outside binary into an entire spectrum of experiences.

There is also a sense of disorientation at play. It’s difficult to pick out what’s happening in a piece until it has completely unraveled. The process is akin to a well-written story with many twists and turns; it’s only at the conclusion when the true narrative arc reveals itself. Nature plays a huge role across the album: insects, birds, and running water play off Ahti’s synthetic emanations. She emulates the textures of the natural world with her electronics, which provokes the question of whether we’re experiencing reality or an artificial construct. Ahti chooses not to answer this question. She’d rather we succumb to the uncanny beauty of the sounds.

Bryon Hayes

[stay-away-from-the-sun]

Kiln - Holo (Remaster)

[bmobeaumont]

[badarchitectrecords]

Check out this new track by Information for Motorists! 

[nktmc]

[push-it-studio]

11/18 Molecule Plane 3rdアルバム『Apocrypha』リリース

11/18（金）にMolecule Plane名義での3rdアルバム『Apocrypha』をshrine.jpよりリリースします！ 2017年にリリースした2ndアルバム『SCHEMATIC』以降（2018～）にアクースモニウムのコンサートやフェスの展示企画などのために制作した楽曲を中心に新作を加えたものになります。 どの作品もコンサートなどで一回演奏しただけで再演されることなくデッドストック状態だったもので、当初はリリースの予定もなくせいぜい「いずれアーカイヴ的にまとめてBandcampで出すか……」くらいに思っていたのですが、レーベル側からオファーを頂き、アルバムとして完成させることとなりました。 今の自分の耳で聴くと直したいところだらけだったので楽曲の骨格は基本的に維持しつつアレンジのみならず大幅にミックスやマスタリングをやり直すことで、2022年の最新形と呼ぶにふさわしい電子音響作品として完成させました。 タイトルの『Apocrypha』とは聖書における「外典」を意味しますが、最初からアルバム用に制作された楽曲が「正典」であるならば、コンサート用に作られ、当初はリリースの予定もなかった本作の楽曲群はまさに「外典」であるという発想からつけました。ただし、このアルバムのために作られた新曲は「外典ですらない」ということから「偽典」を意味するタイトルが付けられています。他にも宗教的な意味合いも含んだタイトルの楽曲も多いので、その辺りの言葉遊び的な部分にも注目して頂ければ。 現在WEBショップ「V.V.A.V.」でも予約受付中です。送料無料、希望者にはサイン有でお届けします。また、レーベルのSoundCloudからM.5『Disentangle』の冒頭3分間の試聴が可能です。何卒宜しくお願い致します!!!!!!!!!!!!!!!!!!!!! 予約↓ https://vvav.thebase.in/

shrine.jp

·

SRSW-501 Molecule Plane / Apocrypha

[technician-the]

It's bandcamp Friday! (its been awhile hasn't it?)

Bandcamp Friday is an even that started in 2020 when all the venues were closed, it's day where the platform waives their revenue share so all funds go directly to the artist.

Most of my music is downloadable for free, but I still think today is a good day to check it out!

[meadow-dusk]

rb for science

[my-chaos-radio]

Release: July 7, 2017

Lyrics:

One

Talkin' in my sleep at night, makin' myself crazy

(Out of my mind, out of my mind)

Wrote it down and read it out, hopin' it would save me

(Too many times, too many times)

My love

He makes me feel like nobody else, nobody else

But my love

He doesn't love me, so I tell myself, I tell myself

One, don't pick up the phone

You know he's only calling 'cause he's drunk and alone

Two, don't let him in

You'll have to kick him out again

Three, don't be his friend

You know you're gonna wake up in his bed in the mornin'

And if you're under him

You ain't gettin' over him

I got new rules, I count 'em

I got new rules, I count 'em

I gotta tell them to myself

I got new rules, I count 'em

I gotta tell them to myself

I keep pushin' forwards, but he keeps pullin' me backwards

(Nowhere to turn) no way, (nowhere to turn) no

Now I'm standin' back from it, I finally see the pattern

(I never learn, I never learn) oh

But my love (my love)

He doesn't love me, so I tell myself, I tell myself

I do, I do, I do

One, don't pick up the phone

You know he's only calling 'cause he's drunk and alone

Two, don't let him in

You'll have to kick him out again

Three, don't be his friend

You know you're gonna wake up in his bed in the mornin'

And if you're under him

You ain't gettin' over him

I got new rules, I count 'em

I got new rules, I count 'em

I gotta tell them to myself

I got new rules, I count 'em

I gotta tell them to myself

Practice makes perfect

I'm still tryna learn it by heart (I got new rules, I count 'em)

Eat, sleep, and breathe it

Rehearse and repeat it, 'cause I (I got new)

One, don't pick up the phone (yeah)

You know he's only calling 'cause he's drunk and alone (and alone)

Two, don't let him in (no)

You'll have to kick him out again (again)

Three, don't be his friend

You know you're gonna wake up in his bed in the mornin'

And if you're under him

You ain't gettin' over him

I got new rules, I count 'em

I gotta tell them to myself (whoa, oh)

I gotta tell them to myself

I got new rules, I count 'em (baby, you know I count 'em)

I gotta tell them to myself

Songwriter:

Don't let him in, don't let him in

Don't, don't, don't, don't

Don't be his friend, don't be his friend

Don't, don't, don't, don't

Don't let him in, don't let him in

Don't, don't, don't, don't

Don't be his friend, don't be his friend

Don't, don't, don't, don't

You gettin' over him

Ian Kirkpatrick / Emily Warren / Caroline Aileen

SongFacts:

👉📖

Hompage:

Dua Lipa

[burlveneer-music]

Gaia Mattiuzzi - The Way of Memories - electro-acoustic experimental vocal jazz track; I can’t find a full-length shareable version of it anywhere, so skip around this Juno player, it’s fascinating

[zef-zef]

A Duck in a Tree 2024-07-27 - Copper Coins and Boiled Water

zoviet*france weekly radio program listen/download

track list

00 Suzanne Hardy - Intro 01 Ruaridh Law, Debbie Armour, James Papademetrie & Orphax - The Sun 02 Ruaridh Law, Debbie Armour, James Papademetrie & Orphax - The Emperor 03 Ruaridh Law, Debbie Armour, James Papademetrie & Orphax - The High Priestess 04 Philippe Neau - Wein Dou Damn 05 Joe Shaw - The Salt Marshes at Alnmouth 06 Matt Atkins & Stuart Chalmers - Ante-Choir 07 Aidan Lochrin - In the Ruins of No Specific Place (with Jude Norton-Smith) 08 Demetrio Cecchitelli - Oxygen 09 Philippe Neau - Cigales à l'orage 10 Soundsaroundus - Jungle Night After Rain 01 11 Audela - Images Which Form Within your Ears 12 Ben Ponton - BS 19:36 07.03.12 13 Sophie Sleigh-Johnson - I Cairn Get Enough of It 14 Sala - Cell Tower 15 Jan Ryhalsky - Night, Entryway 16 Ting Ting Jahe - 6 17 Drone Forest - Ominous Vine Movement Through Unsuspecting Undergrowth ++ Suzanne Hardy - Outro

[puppysdog]

WAHHHH prophet bought me a guitar for my birthday im running in circles and barking and howling

[postpunkindustrial]

Kid Baltan – Electronic Popular Music

[jsoliday]

BLOCK SOUND #5

with

Christopher Riggs & Hunter Brown (guitar) & (computer) solo & duo

and

Graham Stephenson & J.Soliday (trumpet) & (electronics) duo Tuesday, July 16th, 2024 Bim Bom Studios 5226 W. Belmont Ave Chicago, IL 60641 $15 NOTAFLOF https://www.bimbomstudios.com

[dustedmagazine]

Manja Ristic and Murmer — The Scaffold (Unfathomless)

Here is a remarkable and rare take on the art of collaboration. To call Manja Ristic and Patrick Tubin McGinley, who is known as Murmer, field recording practitioners is almost as misleading as it is to call these two odysseys collaborations, true but not the truth. Both artists freeze the verity of liquid instants and then render them calmly molten, transforming size and proximity into a syntax all their own. While most collaborations involve a concerto approach in which identity switches pride of place from moment to moment, The Scaffold is an exquisitely powerful melding out of which narrative rivers flow.

We’re told that Ristic and Murmer worked from 2020-2022 on this palimpsestic immersion, recording using sound sources from Serbia, Croatia, Slovenia and Estonia. Like the album’s title though, those locations are only means to a sonically inclusive end. Murmer describes the difficulties of capturing a scaffold “singing,” a wonderfully anthropomorphic descriptor that might just as easily be applied to every sound and space opened up as the music eases onward. Michael Pisaro’s groundbreaking Transparent City series laid the groundwork for this “musical” transfiguration of place, or environment, and we hear that process as room tones are augmented in “zamišljena sjena vjetra”’s opening moments. Tone, point and timbre converge in increasing and amalgamating contrapuntal layers, each sound containing and negating its environment, scaffolding to construct a new one. The mechanical sounds and attendant squeaks beginning at 7:54 transform themselves into birdsong in listener perception, just as isolated rain drops lend their pitches to delicately aperiodic rhythmic occurrences beginning at 2:01 of the second piece, “kaugpääs; antenn.” Those sounds and their outcomes unify the pieces, individually and as a pair, various shades of rushing water ultimately taking on the characteristics of a busy speech-scape or the morphing drone perfectly complemented by the singing scaffold as it supports the first piece’s second half.

Magical moments abound. What is that gorgeous shift of focus, that transparent but iridescently pitched liquid, foregrounded with glassy certainty at 13:14 of the first piece, dead-center of the soundstage and highlighting the sonic clusters surrounding it? Can there be anything more ravishingly reverberant than those multi-frequency interjections 2:07 into the second piece? In their echoing repetition, they prefigure the best of all, the Requiem chant coalescing symbiotically with all that has preceded it but sitting comfortably behind it, worlds within worlds in transcendent correspondence, a support system as uneasy but as natural as the rush of voices and motorized life that brings the album from church to town in a life-affirming conclusion. These days, there’s little chance of a bad recording. What’s done with the recordings is the crux of each situation, and The Scaffold is a winner at all levels.

Marc Medwin