专辑类型：Experimental / Ambient
专辑厂牌：EG
专辑介绍：
1973年Brian Eno 离开Roxy Music后开始将他的环境音乐理念付诸实行，这是量产系列作品的第一张，用一台VCS3合成器与数位sequencer搭配Robert Fripp 的即兴吉他演奏，合成器浑沌的持续背景长音概念来自Eno大学时期接触的La Monte Young音乐，旋律结构则是受到Philip Glass的啟发。成果虽很阳春，但Fripp一流的电吉他为专辑加了许多分。而这些背景长音的概念未来将由简入繁，演化至更複杂的音景拼贴，并在Another Green World(EG,1975)专辑中发展至最高峰。
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One of the most notorious hatemongers in movie history is Captain Ahab from John Huston’s 1956 classic Moby Dick. His manic monologues cast a spell on generations of viewers. Berlin based musician and sound artist Jan Jelinek has now turned the voice of Ahab into a musical instrument. Faitiche presents Jan Jelinek's soundtrack for SEASCAPE – polyptych, an audio-visual software developed in collaboration with Canadian new media artist Clive Holden in 2022.
SEASCAPE – polyptych is based on image and acoustic source material from Moby Dick. While Holden works on manipulating film sequences, the voice of Ahab plays a central role in Jan Jelinek’s soundtrack. The dynamic volume and tone of the captain's speech control a synthesizer system that turns Ahab's voice into ten abstract soundscapes.In this production the voice gives the impulse and controls things but is not the sound of spoken word itself that we hear. Only occasionally can snippets of speech be heard so that syllables or sounds are recognisable. Instead we hear compositions made of hissing, soundscapes and eruptive sounds. The atmosphere is dark and sinister. Still every piece has a clear sonic structure and follows an understandable dramatic composition. This music is abstract but not overwhelming. Quite the opposite, SEASCAPE – polyptych is an invitation to listeners to let themselves be carried by the stream of sonic events.

Although part of a media art work, the soundtrack can be enjoyed without any of this connecting superstructure. It works with no previous knowledge. But what happens when one does know that it’s the sonic waves of a human voice that is controlling a network of synthesizers?If you want to hear Ahab, you will hear a choir of Ahabs in every piece of sound. The subliminal threatening as well as the conjuring Ahab. Finally the Ahab who whips up his crew and tears them with him into their downfall. The majestic „on the quay now, waiting and watching“, the oppressive “drawn towards the whirlpools center” - they are all music as well as sonic discourse.
credits
releases April 28, 2023
Written and produced by Jan Jelinek
Mastered by Rashad Becker
Design by Tim Tetzner
Images by Clive Holden
Copyright Control
Faitiche 2023

“不一样”十二乐集之九。琴瑟行云笛箫流水，明光暗朵坐怀忐忑，忆昔时感今日。前朝皇室幽园眼下信步闲庭。“不一样”乐人于此间一派丝竹鼓瑟一场古今穿行…连续三天前期录制，经四年余时后期制作乐成此记。
乐手司职：
窦唯：鼓/瑟/古琴/打击乐/采样/吉它
窦绍儒：排箫/箫/笛子
子枫：笙/打击乐/口笛/葫芦丝/笛子
李孙瓯：筝
制作司职：
制作人：窦唯
录音/混音：陈林
鸣谢：北京静心乐文化发展有限公司

Album: 死ぬことを学ぶための戦略
Artists: modest by default | mabisyo
----------------------------
この瞬間の素晴らしさが
この瞬間の愛おしさが
今と言う安らぎとなり
私の中に広がりゆく。
たまらなく込み上げるこの気持ちを
どう表現しよう。
大切な今よ
かけがえのない今よ
私の生きる、この今よ。
----------------------------
私は手を強く握り、誓う。
奪われた命に想いを馳せて、
心から、誓う。
こんなにもたくさんの命を犠牲にした戦争
を、絶対に許さないことを。
もう二度と過去を未来にしないこと。

Forest Swords (aka electronic producer/composer Matthew Barnes) returns with long awaited new single “Butterfly Effect, out now on Ninja Tune.
“Butterfly Effect” is part industrial electronica, part bleak greyscale pop, shifting Forest Swords' world deeper into murkier, more paranoid territory, with a previously-unheard vocal sample by the legendary singer-songwriter Neneh Cherry.
"The track swirled around as a pure instrumental for a while, a beat I made in the cold factory space in Liverpool I was recording in, some kind of attempt to cope with the psychedelic amounts of pain I was in from a leg injury" says Barnes. "Neneh’s unreleased archive vocal turned out to be a perfect fit, like they were meant to be together somehow. As a fan that has always idolised her, it's a true honour and life highlight to have her blessing to use the vocal on this track".
The single is accompanied by an ancient-futurist video created with visual artist Sam Wiehl, and is released along with new b-side “Tar”, a woozily euphoric ambient piece that sees layers of processed wind instruments and sub bass weave in and out of each other.

Tracks 1 to 6: Recorded in 1979 at Sunrise Studios, Kirchberg (Switzerland)
Track 7: Recorded in 81 at Hennuyères (Belgium)

《Xia Ye》的音乐创作萌芽于 2020 年 2 月初，Night Swimmer 在家乡湖北黄冈的封城生活经历 —— 一次雨后夜游山郊之旅。在对名为“蚊虫山”的攀爬探索之中，泥泞但闲暇自在的步伐带来了长久遗失的旷野独处之乐趣，但外部世界开始质变的那些混乱且沉重的征兆，也不断撕扯着这份自在。自然带来的原始慰藉已抵达，但其所创造的心灵景观开始了波荡扭曲。
在随后的两年时间里，日常的苦闷与琐碎、对超验主义的理想与爱、城市之间的无目的流转、以及外部环境的剧烈变化，与脑海中“蚊虫山”的记忆嘈杂交错，汇聚成《Xia Ye》的叙事碎片。Night Swimmer 在模拟电子、采样及人声之中溯源音乐记忆里的世纪末 New Age 以及各类乡间神秘仪式的声响，在传统中国乐器声色和幽暗旋律中勾连回忆与现在，呈现一次完整的内部探索之旅。
《Xia Ye》并非对当下的精神困境之解药，它是对个体危机、精神变迁与自然慰藉的一次记录。每个人都可以在这块闲暇旷野之地感获某种意义，于现实风暴之中寻得新的安宁。
During a nighttime visit to a mountain called “蚊虫山” (Mosquito Hill), located in his hometown, Huanggang, Hubei Province, the idea for Night Swimmer’s full-length album, Xia Ye, came into being under the bleak and harsh background of a city lockdown, during the early outbreaks of COVID 19. The journey began with an unrestrained and immersive exploration into the nocturnal wilderness of the mountain. The dim-colored environment refreshed and inspired his mind without any human contact. Yet, the thoughts of the chaos and ordeals rampaging in the external world began to resurge, relentlessly lashing back at his long-lost mental serenity; A spiritual terrain was formed and modified.
In the following two years, every aspect of his life: the intermittent gloom and triviality of daily living, the continuing ideal and love for transcendentalism, the nomadic wanderings among cities, and some looming befuddlement over the still-happening chaos around this world, all turned into winds and waves carving this spiritual landscape and finally condensed into the symbols behind each track in Xia Ye. In Chinese, Xia Ye can mean either chill night or chill field. To delineate this transformed state of mind, Night Swimmer employed analog synths, organic samples and human voices that are essentially redolent of his listening experiences of 90s New Age music and local rituals in his hometown when he was a child. Xia Ye meanders through the past and the present via traditional Chinese instrumental sounds and melodies, conjuring up a wholesome inquiry into this imagined field of self.
Xia Ye is not an antidote to the spiritual crisis of the contemporary world. It is a memoir of the transformation of the inner self. But, these sounds and melodies can hopefully help achieve some meaning and peacefulness for those also finding themselves lost amid the realistic, grueling storms spreading worldwide.

The new track, written and processed during the period of the rampant corno virus, is dedicated to those suffering from the losses of families and those losing lives. HOPE STILL REMAINS Presented by Field Ring Records.
Guitars, synths and beats by Night Swimmer.
Written, mixed and processed by Night Swimmer.

Pentiments gladly welcomes the preeminent Serbian sound artist, writer and director Arsenije Jovanović back to its proceedings with the premiere of a powerful new work produced in his 90th year. Being preceded by a body of now classic radio productions as well as involvements with the films of directors like Terrence Malick, Sailboat Galiola Nuria’s Unfinished Logbook is apropos in taking on the dense and confluent form of a partial recollection of the voices of his artistic past (his 1967 radio piece Prayer For One Galiola haunts the surface most clearly) as they are weaved through waves of sonic-cinematic flotsam that proffer the profound and the picturesque as they pass. The tumultuous relations of memory and consciousness take the foreground in Arsenije’s notes on the piece and sketch in turn a nautical phenomenology that renders the abyssal depths of sea and self as one—a sound leads through the haze as a foghorn while we tread the surface. Faithful to the nature of maritime faring in its lapping voluptuousness and enveloping kinetic force, Arsenije’s latest effort achieves a sonic transmutation of voyage-as-ceaseless-compenetration with a command that can only be described as the mark of a master.
In an edition of 100 copies with full color jacket and liner notes by Arsenije Jovanović. Mastered by Anne Taegert at Dubplates & Mastering.

制作：朝简
录音/混音/合成器：李杰
古琴/箫/人声：窦唯。

Max Cooper announces new album Unspoken Words, released 25th March on Mesh.
Please note: Singles, "Everything", "Exotic Contents" and "Pulse at the Centre of Being" are instant grat with the album pre-order
As an audio-visual artist, Cooper often goes to the medium of video to enhance his music and the ideas and stories which inspire and inform his work. "Everything" is one of 13 short films combined into Unspoken Words and the metanarrative which will be released as a film on Blu-ray to accompany the album on 25th March.
Cooper developed the visual story for ‘Everything’ with long term collaborator Nick Cobby and photographer Andrey Prokhorov, who has a huge library of imagery from around the world.
Unspoken Words is Max Cooper’s most revealing work to date, leading the listener through experiences of escapism and connection with personal stories of reflection, acceptance, grappling, idealism and rejection.
The raw expression of Cooper’s own mental state illuminates the universal experience of being human. Unspoken Words offers common ground, a unifying space for anyone who faces internal discordance and feels the need for greater connection and greater expression.
Speaking about the process of writing Unspoken Words, Max continued: “I find existing inside my mind to be a sometimes beautiful, sometimes intense, sometimes abrasive, messy, baffling, relentless experience, and I’ve tried to put as much of that feeling and form as I could into the album.”
The deftly mixed audio is accompanied by a visual story which unfolds through 13 short films by a range of visual artists commissioned and directed by Max Cooper, and mixed in Dolby Atmos surround sound.
Unspoken Words will be released on Mesh on 25th March on Blu-Ray + CD, vinyl and digital.
credits
released March 25, 2022
Album artwork designed by Zach Lieberman and Colin Droz.
Mastering by Chris McCormack at Blacklisted Mastering
℗ 2022 Mesh © 2022 Manners McDade Music Publishing
license
all rights reserved

Kitchen sink Scuzz n’ Bass from 1998 Tokyo. Existing somewhere between Drum n Bass, Musique Concrète, Free Jazz and Noise,
Jigen (aka Taro Nijikama) ran the cult Shi-Ra-Nui imprint and was a lynchpin of Tokyo's underground music scene, working as much behind the scenes as in front of them.
There is an inherent grit to the work on display here. Jazz-inflected
drums, echoing bells, dissonant flutes, and haunting piano work coarsely interact with skipping breaks and industrial atmospherics, punctuated by tense gasps of silence. Samples disintegrate and reappear, creating a kind of elliptical narrative, and the 9 tracks here perhaps trigger a disorienting sense of dèjá vu.
Originally released on CD by Shi-Ra-Nui in 1998, Double Circumflex is
proud to present the first officially licensed reissue of Stone Drum Avantgardism by Jigen and introduces the prescient sound of Shi-Ra-Nui for deeper excavation into its shadowy fissures. Remastered and cut with maximum precision by Beau Thomas at Teneightseven.

Produced at TOL Productions, January 1997
Country: US

(DB plays with radio for a while - horrible noise drowns out our voices on the tape) "The station's not there now - usually they've started by 5.30... They've no announcements - when they go off it just stops, when they come on it just blasts in... It's enormously loud - I get it accidentally sometimes when I'm just fucking about.
So I've been listening to it, and I really like the way they do it on the radio - I have to say that in recent times it seems to have got softer, a lot less abrasive in some ways. There are more vocal samples, for example... But what I like about the radio is the live quality - although the stuff is records, they don't leave them alone - they'll talk over them, advertise gigs, order a pizza - the music's constant but with interruptions. It's very live - and with that sustained pace, which of course is inhuman... And it's nice to play along with, particularly as opposed to free jazz situations where the pace is often very slow.
I've found it fantastic to practice with. So for a long time I've been doing that...
I've always liked the parts where the music stops and drifts along - you get some ridiculous string orchestra, then it just slips a bit, the pitch goes or they slow it down or something. Then the drums come back - it's completely meaningless! I... like that...
What is a pain and can sometimes dilute it is the repetitive - looped or sampled - vocals... The funny thing is, I've never heard a jungle record, all I've heard has been off the radio..." Derek Bailey [talking to Stefan Jaworzyn]
full interview here
preparedguitar.blogspot.com/2014/01/derek-bailey-interview-by-stefan.html
also
hackneyhistory.wordpress.com/2011/08/22/pirate-radio-in-hackney-early-1990s/