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Ceremoniolose principalement

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released June 21, 2018

Second of two volumes collecting work from 2001>2017.

01. Ghost Boxes (Dedicated to Friedrich Jürgenson) (2001)
Tape composition for shortwave radio, voice and synth, inspired by the subject of electronic voice phenomena (EVP).

02. Tomb of Speed (2001)
Crude tape piece originally issued as a CDR with the Tomb of Speed poetry chapbook, in a limited edition of 30 signed copies (Kye 00).

03. Attersaye (2013)
Originally released as Side-B of limited edition 7" (Kye 706).

04. Ceremoniolose (2017)
Tape collage of recordings gathered in Ano Syros, Greece.

05. Unfocused Hands (2004)
Alternate version of the audiowork from the Unfocused Hands artbook/CDR set, published by Überkatze Studio, Brooklyn, NY.

06. Rudolph's Warcloud (2017)
Spontaneous vocal improvisation recorded with Tom Lambkin.

07. Dove's Eyes (2015)
Track submitted for the -never released- Kings of the Rumbling Spires
(A Tribute to Tyrannosaurus Rex) various artists cassette.

08. I'm Thor (2016)
From a collection of improvised monologs recorded in character voice. See Masks/Concert Review (No Better No Worse Vol 1).

09. Abersayne (2013)
Originally released as Side-A of limited edition 7" (Kye 706).

10. Theatre Recital (2014)
Plunderphonics work released on the limited edition Barley Bridge various artists cassette (Penultimate Press) and available at the Kye/Penultimate Press two-day showcase at Cafe OTO, London.

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No Better No Worse (Vol 2), by Graham Lambkin

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If you like Clarissa Connelly, you may also like:

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Nice Boy by Clarissa Connelly, released 15 October 2015

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I Could Walk
Spores
Amen
+ narrative sound : Body Farm

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Memory - a radical and beautifully vibrating debut release by the Danish vocal group ilinx.

ilinx has created a work solely of vocal sounds and noise captured while recording, as well as subsequent digital processing and manipulation.The music and lyrics revolve around man's increasing fusion with technology. A process that is told along the way, from both a cyborg's, as well as a human's perspective. Both with a desire to optimize themselves and become better and gentler when using technology.

released November 30, 2020

ilinx are Laura Marie Madsen, Anna Sophie Mæhl and Amanda Appel

All tracks are composed, performed, recorded, produced and mixed by ilinx

Except for I Could Walk, recorded, produced and mixed by Joseph Gallacher at DKDM. My Third Melody Three Times Only produced by ilinx and Oliver Møller Nehammer. Body Farm composed by ilinx and Oliver Møller Nehammer. Amen mixed by Frederik Engell and ilinx. Additional production on Emotions by Oliver Møller Nehammer and additional vocals on Body Farm by Haley Clark.

Mastered by Emil Thomsen at ET Mastering

Artwork by Emma Kallan

With kind support from KODA

Thank you:
Trine og Jens, Charlotte, Pernille og Jacob, Frederik Engell, Oliver Møller Nehammer, Joseph Gallacher, our mothers, Katinka Fogh Vindelev, Emma Kallan, Malene Kallan, Frederik Kallan, Destiny's Child, Karoline Severinsen, Japanese cat instagrams, Guillaume de Machaut, Maria Kynne, Emil Thomsen, Lea Charbonnier, Alba Høeg Andersen, Haley Clark, RMC, DKDM and KODA

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Memory by ilinx, released 30 November 2020 1. Amen 2. Spores 3. Emotions 4. I Could Walk 5. Body Farm 6. My Third Melody Three Times Only 7. moon Memory - a radical and beautifully vibrating debut release by the Danish vocal group ilinx.

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Angela's intro
Intermission

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published on

Genre

Storytelling

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License: all-rights-reserved

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Angela - soundcloud Theater by pamela angela

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about

Claus Poulsen Copenhagen, Denmark

Claus Poulsen is an improvising musician and producer living in Copenhagen, Denmark, who has been a part of the electronic and experimental scene since 1995.

CP plays both non-instruments (amplified objects, dictaphone, turntable, bonsai tree), instruments (string instruments, keyboards, percussion) and electronics (laptop, effects, synthesizer). ... more

1. clauspoulsen.com

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Songs for a tuned guitar
21 cents flat

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'An Afternoon Whine' is the first release for Ecstatic by claire rousay and mari maurice aka more eaze - it offers a highly personalised conception of ephemeral avant-pop by two of the US experimental scenes most insightful operators; collapsing ambient, electro-acoustic and gauzy guitar shimmers into a shared, lucid dreamworld.

Feeling like a milestone in both artist's prolific catalogues, the album's heady drift finds our collaborators recording in the same room for the first time, diffusing a palette of vocals, guitar, field recordings, piano and violin into a singular sort of etheric chamber pop.

Beautifully frayed at the edges and with a sanguine melodic core, their music evolves and resolves from the nanoscopic through to a panoramic view across its five pieces, with melodic motifs and lowkey vocals that occur with uncannily natural logic and quiet wit.

The results are Budd-like in their slow blooming elegance, but elusive as anything from the neo-ambient spheres of uon or Perila et al, and osmotically influenced by R&B and cloudrap as much as indie-pop proper.

'An Afternoon Whine' is best framed as a warts-n-all snapshot, poetically limning a sort of day in the life of rousay & Eaze, replete with the domestic rustles and ephemeral passages that have made the former's work so spellbinding, and glinting with the kind of memory-jogging motifs that give body to more eaze's explorations of electro-acoustic sketches, identity, and perception.

It's hard to think of another duo who've smudged the borders so subtly and expressively between the flushing toilet and piano spritz of 'Great Song' and the heartfelt autotuned paean of 'Smaller Pools,' and with the ability to subliminally unstitch convention and reweave it in their own image, as with the lush tension and imperceptible room transitions of 'Floor Pt. 3,' or how 'Songs For A Tuned Guitar' reclaims the supernatural from the domestic with such poetic guile.

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an afternoon whine, by claire rousay + more eaze

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claire rousay + more eaze an afternoon whine, released 16 July 2021 1. great song 2. floor pt.3 3. 21 cents flat and yearning 4. smaller pools 5.

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Echo - LP (DARK GREEN)

Record/Vinyl + Digital Album

Boomkat Editions | Documenting Sound
Dark green LP - Edition of 500 copies

Ship on strong mailer & with tracking number.

Includes unlimited streaming of Echo via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

credits

from Echo, released February 17, 2021

license

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Boomkat Editions | Documenting Sound Dark green LP - Edition of 500 copies Ship on strong mailer & with tracking number. Includes unlimited streaming of Echo via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. from Echo, released February 17, 2021

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Not Knowing (Accompagnement Lecture)
Ornithologie (Interlude)

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From its earliest utterances, experimental music has been particularly disposed to transnational and cross-cultural collaboration. Seeking the answer for a fundamental problem - how to transcend the boundaries of difference, distance, and time - it presents a means to find common ground and communicate through the elemental form of sound. Over the last 5 years, this precisely what the duo of Félicia Atkinson & Jefre Cantu-Ledesma has achieved, intertwining sublime sonorities across the geographic expanses between their respective homes in France and the United States. Their third album for Shelter Press, 'Un hiver en plein été' ('A winter in the middle of summer') - the first to have been largely recorded by Atkinson and Cantu-Ledesma together in the same space - distills a mesmerizing pallet of acoustic and electronic sources into an open discourse of radically poetic forms, offering glimpses of warmth and intimacy waiting in the post-covid world to come.

Both veteran experimentalists with celebrated bodies of solo work behind them - each traversing the challenges of electroacoustic practice in their own singular ways - prior to their first recorded outing in 2016, Félicia Atkinson and Jefre Cantu-Ledesma had only crossed paths in person once, initially meeting in San Fransisco during 2009. The mutual bond formed during that brief encounter flowered into their first LP, 'Comme Un Seul Narcisse', followed two years later by 2018's 'Limpid As The Solitudes'. Both recorded remotely - sending files back and forth, fortified by conversations on a vast range of subjects - these two albums were guided by impassioned conceptual nods to Guy Debord, Baudelaire, Brion Gysin and Sylvia Plath, while seeking resolutions for the challenges and unique possibilities that working at a distance provoked.

Where the triumphs of its predecessors rose from the bridging of disparate moments and divergent spaces, 'Un hiver en plein été' culminates as a celebration of closeness, a result of Atkinson and Cantu-Ledesma working together in the studio, responsively in real time, for the first time. Recorded in Brooklyn during August of 2019 - a handful of months before the pandemic would impose chasmic distances across the globe - its six discrete works, carefully crafted and finalized over the ensuing year, evolve seamlessly across the album's two sides, weaving a sprawling tapestry of sonority, within which both artists retaining their own voices and visions, while drawing each other towards uncharted ground.

Atkinson likens the recording of 'Un hiver en plein été' to have been akin to "a playground", each artist "hungry for each sound, a bit like the rush in the Louvre in Godard's Bande à part", to which Cantu-Ledesma adds that the process seemed to have had "a mind of its own", with both "along for the ride". This organic sense of entropy and enthusiasm - a joyous exploration of the unknown - guides the momentum of the album's evolving arc, as unfolding chasms of ambient space ripple with humanity, life, and fleeting glimpses of the actions that led to its material core.

Crafted from deconstructed melodic elements and drifting long-tones - laden with subtle nods to Indian classical ragas and free jazz - searching patterns of speech, textural elements captured within the studio and the outside world, and searching tonal and percussive interventions, 'Un hiver en plein été' coheres as a multi-faceted series of electroacoustic dialogues; nesting conversations between two artists working at the juncture of abstraction and narration, field recording and harmony, and the philosophical and phenomenological, in search for the meaning of friendship, and its manifestation in pure sound.

released December 2, 2021

Music: Félicia Atkinson & Jefre Cantu-Ledesma
Mastering: Stephan Mathieu
Artworks: Yu Nishimura
Design: Bartolomé Sanson

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Un hiver en plein été, by Felicia Atkinson & Jefre Cantu-Ledesma

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Un hiver en plein été by Felicia Atkinson & Jefre Cantu-Ledesma, released 02 December 2021 1. And All The Spirals Of The World 2. Quelque Chose 3. Septembers 4. Not Knowing 5. Ornithologie 6. The Hidden From its earliest utterances, experimental music has been particularly disposed to transnational and cross-cultural collaboration.

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J'ai beaucoup de musiques assez longue comme ça avec des notes répétitives pour les lectures.

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Genesis P. Orridge qui nous parle ; tout l'album est très oral avec full reverb sur sa voix.

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Genesis Breyer P-Orridge & Carl Abrahamsson - Topic

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Arnaque Minimale c'est le projet musical du collectif Yassemeqk, cette pièce est à la fois drôle et émouvante, bien spatialisable je pense aussi. Bacio

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Janice by Arnaque Minimale, released 19 December 2021

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j'avais namedroppé cette référence lors de notre entrevue, pour illustrer ce que j'entendais par "une répétition insistante avec modulation de la voix".

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0:00 / 5:17•Watch full video