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Lucrecia Dalt

Anticlines

    Lucrecia Dalt’s Anticlines is a volume of bodily and geological substrates within poetic theory and sound. It is a place where skins and minerals dissolve and commingle, where gaseous subterranean leaks inflate lungs, where brain cavities echo interplanetary waves bent from passing through atmospheres.

    A former geotechnical engineer from Colombia currently residing in Berlin, Dalt’s concern with boundaries and edges shape the lyrics and music of Anticlines, her sixth album. Paying careful attention to pace, breath, and texture, Dalt microtonally shifts the distance between speech and song while using traditional South American rhythms to support her contemporary electronic composition.

    Lucrecia arrived at the atmosphere of Anticlines after several months of studying and creating new patches for the Clavia Nord Modular, forming a rhythmic feedback flow with it, a Moogerfooger MuRF, and her voice. The overall effect of cavernous space backdroping Dalt’s intimate vocal phrasing rewards contemplation, supported in the physical formats of Anticlines by a lyric booklet documenting Lucrecia’s collaboration with Australian artist Henry Andersen.

    The album opens with “Edge,” bordering on a pathological circlusion of self upon other. The lyrics depart from the Colombian myth of El Boraro, an Amazonian monster who turns its victims insides to pulp before sucking them dry and inflating their bodies like balloons to lifelessly float away. “Tar” ponders human dependence on earth at the boundary of the heliopause, where to inhale might be like breathing tar. Dalt’s distant and obscured vocals end with, “we touched only as atmospheres touch.”

    The sonic rise and fall of “Analogue Mountains” is inspired by martian traces found in Antarctica embedded by meteorite ALH84001, suggesting that “we might well be living in mountains transferred from Mars.” The steadily winding music on “Concentric Nothings” descends with the lyrical exercise of dissolution “let my touch be indistinct and instinctive.”

    Interspersed with the lyrical pieces of Anticlines are instrumental interstitials that demonstrate preceding concepts — as if to say, “this is what antiforms sound like, and this is what the universe’s indifference sounds like.” Dalt’s ongoing experiments with visual artist Regina de Miguel support these ideas, their practice allowing the objects of their attention to slip in and out of being.

    Mystic of matter, Lucrecia Dalt has previously performed and worked with Julia Holter and Gudrun Gut, her slippery spoken word and performative nature recalling the work of Laurie Anderson, Robert Ashley, Asmus Tietchens, or Lena Platonos. While touching stones, The Thing by Dylan Trigg, Cascade Experiment by Alice Fulton, and Wretched of the Screen by Hito Steyerl are but a few formative scripts that support Dalt’s exploration of the betwixt and between.

    In preparing a live set for Anticlines, Dalt plans to stage an uninterrupted configuration, like a kind of alienated lecture, aiming for “gestures that create tensions with non-existent objects.” Dalt intends “to provide meaning and a place for the listener to meditate or relate to the concerns and ideas” she presents.

    Oliver Coates

    John Luther Adams' Canticles Of The Sky

      THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.

      Oliver Coates presents his interpretation of John Luther Adam's Canticles of the Sky. A composition normally for 16, 32 or 48 cellists surrounding an audience, Coates conducted 32 cellists for the UK premiere in Sheffield. Inspired by the performance, Coates recorded himself playing 16 parts, overlaid for this recording and limited vinyl release. Oliver Coates has received wide acclaim for his work with Mica Levi, Radiohead, Johnny Greenwood, Actress, and solo efforts Upstepping and Toward the blessed islands

      The ever reliable RVNG Intl. return to Piccadilly this week with the second album proper from electronic experimentalists and ambient boundary pushers Visible Cloaks. In 2010, Spencer Doran, one half of Visible Cloaks alongside Ryan Carlile, prepared the first volume of "Fairlights, Mallets, and Bamboo", a mixtape intended as an investigation into fourth-world undercurrents in Japanese ambient and pop music, years 1980 - 1986. These mixes contextualized the outré orbit of Yellow Magic Orchestra-related solo projects and their abstract, radiant forays as forever futuristic modes of music, and became a highly influential listen on a generation of DJs, musicians and collectors. "Reassemblage" evokes similar musical futures celebrated on the Fairlights mixes, but does so observantly rather than reverently. The foundation of the duo’s second album is gently poured upon the ground their musical predecessors explored, using the materials of chance operations, MIDI “translation,” and other generative principles that favor inclusive musical environments over the narrowly constrained. Often the duo strip tonal elements of their specificity or randomize melodies so they become stirring and lucid. Essential patterns emerge, conscious experience heightens. In these moments, the musical language of "Reassemblage" finds unlimited resonance and presents a path to uninhabited realities. The origin of this language could be described as translingual or polyglottal, working within the eastern / western feedback loop of influence, Fourth World ambiguity, and the universality of human emotion. Incorporating an international array of virtual instruments to advance the idea of panglobalism through digital simulation, tones and colors cohere into a living, breathing pool of sensorial experience in Visible Cloaks’ environs. Beyond embracing the fluidity of worldly musical influences, Visible Cloaks works fluently between mediums. The contribution of stalwart digital and installation artist Brenna Murphy’s dream dimensions to "Reassemblage"’s cover artwork and surrounding videos extends the album’s exploration of global headspace into a visual, visceral reality.

      STAFF COMMENTS

      Martin says: Visible Cloaks second LP sows seeds from the angular, exotic world of Japanese electronic pop, and reaps a beguiling and at times unsettled East-West hybrid of textures, rhythms and moods.

      The two instrumental albums issued by Syrinx in the early 1970s sound little like the psychedelic music prevailing Toronto’s rock venues at the time, and are even further removed from the electronic tape experimentations spooled by a younger John Mills-Cockell. Instead, the path of Syrinx whimsically veers away from the dominant mode of ‘70s subculture, charting surprising commercial success. Tumblers From The Vault presents their entire recorded legacy, reviving the story of Syrinx and sharing their memorable, mind-bending melodies. The musicians behind Syrinx were composer and keyboardist John Mills-Cockell, saxophonist Doug Pringle, and percussionist Alan Wells. All three were young veterans of the Toronto creative scene by the beginning of 1970.

      LSD played a supporting role in their artistic pursuits, but equal guidance also came from Mills-Cockell’s studies at the University of Toronto and Royal Conservatory of Music, where he established an ad-hoc, DIY electronic music course in the school’s basement. After the dissolution of Intersystems, a rogue, multimedia ensemble established by Mills-Cockell , John journeyed to Canada’s west coast to work on an album of original synth-based compositions. Pringle was enlisted to color outside the music’s already adventurous lines, his sinuous, signal-processed saxophone adding another electrifying voice to Syrinx’s signature sound.

      A sound that hybridized chamber music dynamics with wild, yet tuneful electronic melodicism. With Alan Wells’ understated percussion rolled into the fold, what started as a solo venture for Mills-Cockell became a new kind of collective. From these coastal sessions were conjured exemplary pieces like “Journey Tree” and “Hollywood Dream Trip,” both plaintive and serene expressions of Mills-Cockell’s economical arrangements, and also Syrinx’s restrained and expert use of their electronic resources. Syrinx’s self-titled debut arrived in 1970, followed in 1971 by Long Lost Relatives, which is highlighted as the first album on Tumblers From The Vault.

      Between the two albums, Syrinx became a vital part of the Toronto music scene, with Doug Pringle’s loft serving as the central node for impromptu performances and the group’s collaborative activities. Syrinx also started receiving high profile work, first for television, film, and dance, and then for orchestra. One commission culminated commercially in “Tillicum”, the unforgettable theme music for pioneering reality television show Here Come the Seventies.

      Syrinx’s music is more than a faded strain in Canada’s consciousness, but has never expanded universally. One modest task of Tumblers from the Vault is to reinstate Syrinx to their place in the wider canon of groundbreaking music so their story can be appreciated beyond the limits of Canadian notoriety. Another task is to simply have this music heard again, which is an endeavor made less difficult by the fact that the most defining quality of Syrinx’s music is its timelessness and agency.

      Unlike so many turn of the ‘60s experiments fusing rock and pop music language with new technology, Syrinx was never excessive in expressing their vision of what electronic music could offer. Instead, they blended these sounds in a holistic way, allowing the acoustic and electronic textures to create one organic voice. They opted to foreground the lyrical and poetic content of their compositions in place of their innovative techniques. It’s a testament to John Mills-Cockell’s compositions, and his comrades Doug Pringle and Alan Wells, that the tangential path of Syrinx remains as present, exploratory and inviting as ever



      Mikael Seifu’s 'Zelalem' is an ode to - and a fearless break from - the storied lineage of Ethiopian music. The literal Amharic translation of Zelalem is “eternity,” and through Seifu’s conceptual frame it becomes a “vector of light.” Seifu shines this light on the music of his home country while guiding us through an uncharted “Ethiopiyawi Electronic” - a coinage Seifu uses to describe the music he and his peers are producing in Ethiopia’s capital city of Addis-Ababa.

      Illuminating the rich sounds of Addis-Ababa’s azmaris, Seifu’s music becomes a “dream brew” in which these traditional musicians collaborate and contribute vocals and lead voicings from folk instruments such as the Masenko and the Krar. Seifu was educated at the Lycée Guebre-Mariam in Addis-Ababa. The French academy’s international group of students was Seifu’s first exposure to a world outside Ethiopia; his second was at Ramapo College in suburban New Jersey.

      Here Seifu met a mentor in Ben Neill, the composer and music technologist who trained with La Monte Young. Seifu was inspired by Neil to take serious his calling in music. A calling of a different, spiritual nature brought Mikael back to Ethiopia. As a repatriated young man in Addis-Ababa, Seifu felt a renewed sense of allegiance to his home country and allowed its ubiquitous music to guide his creations. Seifu’s early work was shared across a string of EPs for stalwart Washington DC imprint 1432 R, demonstrating an interplay of regional folk music and international electronic music. Mikael’s music does not westernize or electronicize extant Ethiopian music. Instead, Seifu uses Ethio-jazz’s spirit of brewing estranged styles for his own musical tincturing. Seifu’s passion above all else is to create something befitting of its time, yet “eternally Ethiopian.” The latter phrase was the mantra guiding Seifu through the creation of Zelalem, and a source of inspiration for the cover artwork. Zelalem spotlights the music of Ethiopia’s past as well its future. Mikael Seifu illustrates the potential for reinterpreting sacred and proud sources through energized palettes. His latest effort heralds the future of this new music and signals the genesis of Ethiopian Electronic, where the known and unknown commune.


      Robert Aiki, Aubery Lowe & Ariel Kalma

      FRKWYS Vol.12 - We Know Each Other Somehow

      'We Know Each Other Somehow' is the twelfth volume of FRKWYS, the music, film, and event series celebrating intergenerational collaboration. For this installment, RVNG Intl. offers a collection of original compositions by Robert Aiki Aubrey Lowe and Ariel Kalma. In the four decades since Ariel Kalma’s debut album, the privately pressed 'Le Temps des Moissons', the French-born Kalma musician has circulated corners of culture now legend: intrepid excursions as a spiritual explorer through India and New York in the 1970s, a studio staff position at the Groupe de Researches Musicales (Pierre Henry’s famous music concrete laboratory at INA studios), and training with music / mind / meditation institute Arica. The genesis of this FRKWYS collaboration was inspired in part by Robert Aiki Aubrey Lowe’s first release under his own name, the widely regarded full length 'Timon Irnok Manta', released for Type in 2012. The album paired two strobing, drone-oriented pieces in an uncategorizable combine of ambient synthesizer-music and pulsing rhythms. Lowe also performs his vocal-based compositions as 'Lichens' and is a frequent collaborator with Om and Nurse With Wound. Chance travel landed Lowe and Kalma in San Francisco at the same time shortly after the collaboration idea was seeded. Upon meeting, Kalma was endeared by Lowe’s unique set-up, a portable modular synth unit housed in a vintage luggage case. Kalma recalled his own adventures when he traveled with just a Revox tape-delay machine and saxophone. Plans were soon settled to record in Kalma’s home studio in Main Arm, a remote community on the eastern Australian coast, around Lowe’s serendipitous tour dates with Om. The pastoral life that Kalma had settled into eons earlier vastly informed the character of the recording. Similarly mined by Ariel Kalma in his 1978 album 'Osmose', itself a collaboration with sculptor Richard Tinti, field recordings are embraced throughout 'We Know Each Other Somehow' as a key harmonic and timbral element with which to adorn. Described by Lowe in the liner notes as the “collective voice,” these birdsongs, creeks, tributaries and other ambient sonics of Main Arm appear throughout the album in processed and pure form. Wind instruments and signal sources are modulated, modified and sustained ad infinitum, cohering the choir of mother earth with the collaborators’ own. 'We Know Each Other Somehow' is accompanied by a feature length exploratory documentary based on the collaboration. Titled Sunshine Soup and directed by multitalented designers / artists Misha

      Hollenbach and Johann Rashid, the non-linear film is keyed to the outer-boundary music created by Lowe and Kalma. Following up his 2014 archival collection 'An Evolutionary Music (Original Recordings 1972 - 1979)', Kalma found an ideal collaborator in Lowe and an ideal opportunity to innovate in the field of modularly synthesized electronic music which he helped pioneer. Voyaging along parallel paths until now, 'We Know Each Other Somehow' shows these artists summoning another world in an otherworldly part of the planet, merging the collective voice with their own.


      FORMAT INFORMATION

      2xLP Info: LP+DVD.

      2xLP includes MP3 Download Code.

      Ariel Kalma

      An Evolutionary Music (Original Recordings: 1972 - 1979)

      'An Evolutionary Music (Original Recordings: 1972 - 1979)' compiles unreleased recordings from the archives of multiversal artist Ariel Kalma. Concerned as much with musicality as spiritual facility, Kalma’s work vibrates aside fellow travelers along the great rainbow in curved air of the 1970s avant-garde. Ariel Kalma’s boundary-blurring electronic music is heard here in radiant detail across a selection of work spanning his early free-jazz and spoken word trips to his infinite modular synthesizer and analogue drum machine meditations. Kalma’s story is one of world travel, musical discovery and ego-abandonment. Yet for an artist who often discarded public recognition in favor of the ascetic truths in music making, 'An Evolutionary Music' offers the imprint of an outright auteur.

      Born in France, but rarely in one place for long, Ariel Kalma’s 1970s migrations took flight through the decade’s furthest spaces of musical and spiritual invention. As a hired horn for well-known French groups, the young musician toured as far as India in 1972, a place where Kalma would learn circular breathing techniques enabling him to sustain notes without pause against tape-looping harmonies configured through his homemade effects units. Those effects evolved from Kalma’s loyalty to a beloved dual ReVox set-up - two tape machines “chained” together to form a primitive delay unit. Over looped saxophone melodies, Kalma would mix in all shades of polyphonic color, synthesizing fragments of poetry with ambient space or setting modal flute melodies to rippling drum machine patterns and starlit field recordings.

      In France during the mid-1970s, Kalma was staffed as a technician at Pierre Henry’s legendary Institut National Audiovisuel, Groupe de Recherches Musicales (INA GRM) studios - the same music concréte laboratory that spawned masterpieces by members Luc Ferrari, Iannis Xenakis, and Bernard Parmegiani. Like his predecessors and colleagues at INA GRM, Kalma’s relationship to sound was both formal and non-hierarchical. To Kalma, all music existed as related universal patterns, in perfect harmony with the people, places and environments it was created. Kalma’s recorded output of the 1970s culminated in the now scarcelyavailable Les Temps des Moissons (The Time of Harvest) in 1975 and Osmose in 1978, a masterpiece of birdsong exploration. Osmose is double album featuring sculptor Richard Tinti, who had supplied Kalma with hours of field recordings from the rainforests of Borneo.

      'An Evolutionary Music' harvests uncatalogued music made between Kalma’s private press records and onward through the many small-batch cassette releases Kalma would tender. With this collection of musical hybridity and distinct genre-corrosion, Ariel Kalma’s righteous bucking of both popular music trends and the academic tenets of the avant-garde falls squarely in the spirit of other renegades of sacred new-music such as Terry Riley, La Monte Young, and Charlemagne Palestine.

      Bing & Ruth

      Tomorrow Was The Golden Age

      'Tomorrow Was the Golden Age' is an album length composition by minimalist ensemble Bing & Ruth. Written and conducted by pianist David Moore, 'TWTGA' is a halcyonic journey to a neverending place, where music waxes, wanes and drifts imperceptibly from silence to grand, glowing sound.

      Formed in the mid-00s among music student friends at New York City’s New School, Bing & Ruth’s lineup has shifted with the scope of each recording. For 'Tomorrow Was the Golden Age', the group whittled down from the eleven players on their first album, 'City Lake', to seven: two upright bassists, two clarinetists, a cellist and a tape delay tech, all supporting David Moore’s sublime yet resonant piano scores. Moore is responsible for the compelling melodies mediating the overarching ambience of 'TWTGA'. With untethered textures inspired by the indeterminate music of Morton Feldman and later torch bearer Gavin Bryars, 'TWTGA' achieves canon-level quality for instrumental music. Within the piece’s extended passages, Bing & Ruth wander through gradient fields of colour, illuminated by a delicate architecture of slowly developing microtonal harmonies, Steve Reich-ian piano lines and the same analogue tape delay that launched both Brian Eno’s 'Apollo' and the greatest dub reggae engineers into the unknown. Moore employed fundamental contrasts as the conceptual mode for 'TWTGA. Daybreak offered one contrast, with its untraceable hues from dawn to sunrise. Silence and its intrinsic gift of listening offered another. The emergence of 'TWTGA from the two is Bing & Ruth’s epic and ultimate reprisal.

      The album was recorded in Yonkers, New York and mixed in Brooklyn, with Brian Bender and Moore at the controls. Intended to be experienced at both high and low volumes, 'Tomorrow Was the Golden Age' is perfectly calibrated for meditative backdrops, burrowed headphone listening and utter captivation when performed live. Its sonorous palette inspires emotional response across a dynamic field, welcoming a journey to and beyond tomorrow’s promise.

      Sam Haar and Zach Steinman met at Oberlin College in 2003, where they studied electro-acoustic composition and studio art respectively. After graduation and stints apart in Oakland and NYC, the pair regrouped in Berlin where Blondes was born, eventually settling on Brooklyn for home base.

      Blondes quickly evolved from a home studio project to a live experience built around a tactile assemblage of synthesizers, sequencers, and drum machines. Initially inspired by German composer Manuel Göttsching and his seminal "E2-E4" album, the basement and warehouse venues that curiously welcomed Blondes' syrupy, space-case dance music provided a reactive environment for the duo to develop their sound and work ethic. As they started playing at nightclubs renowned for their sound systems and ecstatic dancefloors, Haar and Steinman realized a potential for their music to resonate at a higher fidelity and deeper frequency, both sonically and spiritually. Blondes' heart aligned with house music in its most liquid form.

      A 12” series on RVNG Intl. was initiated in 2011 to document Blondes' evolution. Each record contains a pair of tracks that explore the concept of duality through a personal lens intensely focused on moving the body. The A-side of "Lover" / "Hater" is centered upon a Meredith Monk sample, a primal scream signalling Blondes' rebirth. "Business" / "Pleasure" confronts the struggle of sustaining individuality in a sinister commercial world and stylistically references Blondes' time spent in the UK. The final 12", "Wine" / "Water", swings on pendulum between excess and restraint while exhibiting the duo's most melodic and mature work thus far.

      Available as limited edition vinyl pressings, these six tracks are collected together in album form along with two new offerings, "Gold" and "Amber". Almost entirely improvised and recorded in single takes, "Gold" and "Amber" are inspired by complexity and purity, which manifests in the manic energy and bliss of the parallel tracks.

      Disc 1 compiles three 'duality' 12”s released on RVNG Int. over the course of 2011 and adds two new tracks. Disc 2 Features remixes friends, peers, and heroes including JD Twitch of Optimo, Dungeon Acid, SFV Acid, John Roberts, Andy Stott, Robert Miles (yes, that Robert Miles), Teengirl Fantasy, Bicep, Traxx, Laurel Halo, and Rene Hell.


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