EVERYWHERE AT THE END OF TIME (COMPLETE EDITION)
When work began on this series it was difficult to predict how the music would unravel itself. Dementia is an emotive subject for many and always a subject I have treated with maximum respect.
Stages have all been artistic reflections of specific symptoms which can be common with the progression and advancement of the
different forms of Alzheimer's.
Thanks always for your support of this series of works
remembered by The Caretaker.
Physical editions of all stages on both vinyl and compact-disc
are available now and are being distributed by Boomkat.
boomkat.com/labels/history-always-favours-the-winners
May the ballroom remain eternal.
C'est fini.
--
STAGE 1 - (A+B)
Here we experience the first signs of memory loss.
This stage is most like a beautiful daydream.
The glory of old age and recollection.
The last of the great days.
STAGE 2 - (C+D)
The second stage is the self realisation and awareness that something is wrong with a refusal to accept that. More effort is made to remember so memories can be more long form with a little more deterioration in quality. The overall personal mood is generally lower than the first stage and at a point before confusion starts setting in.
STAGE 3 - (E+F)
Here we are presented with some of the last coherent memories before confusion fully rolls in and the grey mists form and fade away. Finest moments have been remembered, the musical flow in places is more confused and tangled. As we progress some singular memories become more disturbed, isolated, broken and distant. These are the last embers of awareness before we enter the post awareness stages.
STAGE 4 - (G+H+I+J)
Post-Awareness Stage 4 is where serenity and the ability to recall singular memories gives way to confusions and horror. It's the beginning of an eventual process where all memories begin to become more fluid through entanglements, repetition and rupture.
STAGE 5 - (K+L+M+N)
Post-Awareness Stage 5 confusions and horror.
More extreme entanglements, repetition and rupture can give way to
calmer moments. The unfamiliar may sound and feel familiar.
Time is often spent only in the moment leading to isolation.
STAGE 6 - (O+P+Q+R)
Post-Awareness Stage 6 Is without description.
--
All stages featuring cover art imagined and painted by Ivan Seal.
All stages mastered by Lupo at Calyx in Berlin.
All stages were released on Vinyl and Compact Disc via
'History Always Favours The Winners'.
Distribution of Vinyl and CD's by Boomkat.

Experiential composer Tim Hecker’s ninth official full-length, Konoyo (“the world over here”) was largely recorded during several trips to Japan where he collaborated with members of the gagaku ensemble Tokyo Gakuso, in a temple on the outskirts of Tokyo.
"Inspired by conversations with a recently deceased friend about negative space and a sense of music’s increasingly banal density, Hecker found himself drawn towards restraint and elegance, while making music both collectively and alone.
As with the Icelandic choir he arranged on 2016’s Love Streams, the heights of Hecker’s talent emerge in his manipulation of source material, bending and burnishing it into fantastical new forms. Keening strings are stretched into surreal, pixelated mirages; woodwinds warble and dissipate as fractal whispers of spatial haze; sparse gestures of percussion are chopped, isolated, and eroded, like disembodied signals from the afterlife. Both in texture and intent, Konoyo conjures a somber, ceremonial mood, suffused with ritual and regret. Visions flutter and fade; dreams gleam and decay.
Hecker will stage a series of special performances in tandem with the album's release, featuring members of the gagaku ensemble on shō, ryuteki and hichiriki, accompanied by Kara-Lis Coverdale."

Telas (Veils) is multiple things at once. It's a visual terrain created by artist Somnath Bhatt. It's a record by Nicolás Jaar, with key contributions from Milena Punzi (cello), Susanna Gonzo (voice), Anna Ippolito & Marzio Zorio (instrument makers), and Heba Kadry (mastering). It's a digital terrain created by Abeera Kamran where the sounds and illustrations of Telas live in their primordial states. The site was imagined by Abeera, Somnath and Nicolás as a panspermic terrain where no matter -whether existing in thought, physical form or other- has a solid or unmovable origin.
Multiple parts of the music were first played during two shows at The Kitchen in NYC in the fall of 2017, alongside performances by Africanus Okokon and Patrick Higgins. (
)
Telas is Nicolás Jaar's 6th full length album, and follows Cenizas from earlier this year.
Tracklist:
Telahora
Telencima
Telahumo
Telallás
Telas is out on July 17th on Other People. The physical edition of the album will be handled by Mana Records

"Directly following an ambient collaboration with modular synth master Alessandro Cortini (Illusion of Time) and a club 12" with Roman Flügel as Noun (Meeting of the Minds), Daniel Avery finished a solo LP and spontaneously decided to release it with no advance hype.
"Love + Light touches on several sides of Avery's personality, delivering propulsive dance tracks as well as reflective experiments, and diverting into other modes that he hasn't explored as frequently. "Dusting for Smoke" and "Dream Distortion" are prime examples of the type of hissing, hazy techno he excels at, with heavy, pounding beats and tense, dreamy synth textures, all fine-tuned for major club impact. "Darlinnn" keeps up a steady beat but builds much more gradually, working up to a frothy peak and then simmering down. Surrounding all these tracks are experimental pieces like the distorted drone of "London Island" (echoing his work with Cortini) and the gentle, floating harp interlude "Katana." "Searing Light, Forward Motion" takes things in a much harsher direction, with clattering, distorted breakbeats reminiscent of Christoph de Babalon or DJ Scud, and furious acid synths sounding like an angry robot on the rampage. "Infinite Future" is much more serene, with shoegazey synths gliding over a slightly jittery post-dubstep beat, and other tracks like "Into the Arms of Stillness" and "A Story in E5" dip into swirling, tenderhearted downtempo IDM in the vein of Casino Versus Japan or Freescha. "Fuzzwar" is in a similar vein, yet somehow it's one of the least fuzzy-sounding tracks on the album. Wrapping it all up is "One More Morning," a light, shimmering electro piece perfect for greeting the sunrise. While Love + Light feels a lot rougher than Avery's first two solo albums, and initially takes a few more listens to fully appreciate, it's just as inspired and creative."

Domestic debut of the Scottish trio's 1986 ambient collaboration album with Harold Budd for the 4AD label. Contains eight tracks, most of which sound like Cocteau Twins with a moody organ added. Vocalist Elizabeth Fraser sings on 'Sea, Swallow Me', 'Eyes Are Mosaics', 'She Will Destroy You' & 'Ooze Out And Away, Onehow'; the other cuts, 'Memory Gongs', 'Why Do You Love Me?', 'The Ghost Has No Home' & 'Bloody And Blunt', are all instrumentals. Highlyrecommended to any fan of Cocteau Twins or Budd! 1999 release.

Colleen的05年专辑“The Golden Morning Breaks”在Splendidezine刚刚评选出的年度TOP 20中位列第一。不排除由于该站的高层主编是个电音达人，单就这张专辑的自身价值来说，确实是今年不可忽略的一笔，不管你听的喜欢的是什么类型的音乐。
Colleen的音乐风格定位于Post-electronic/Abstract/Minimalism。谈到这张“The Golden Morning Breaks”，你会发现自己无非是在围着其中那些制造出高度抽象概括声音的器乐绕来绕去：铃铛，大提琴，教堂氛围，以及19世纪的玻璃钟琴。这是Colleen的第二张专辑，乍一听，你会觉得和她的首张专辑“Everyone Alive Wants Answers”没什么区别。Cecile Schott，一个有着强烈DIY精神与头脑的法国艺术家，她的音乐依然是混合了旋律与极简主义，她喜欢温暖梦幻的声音，她的音乐是跨越时空的“混合物”：原声民谣与文艺复兴时期的古典乐融合，并用一支电子的“调和棒”将它们搅匀。这不禁会让一些较为资深的听者由此张联想到Vini Reilly的早期作品“The Durutti
Column”，人们不会忘记Vini以overdub和loop增色的优美而闪烁的吉他。其实，Schott的首张CD是一张完全的小样专辑，仅用自己的一台电子录音机和朋友送的制作小样的软件完成。真是简陋的可怕。那时她给我们留下的印象无非只是一个德国的声音艺术家或是用笔记本电脑做音乐的音景师。但在第一张专辑发行后的巡演推广中收获了出乎意料的成功后，Schott意识到只坐在台上用一台笔记本电脑合成音乐，这并不是她想要的。由于青少年时玩学生乐队的经历，这时的Schott已经积累了相当的吉他技术。她开始钻研一些其他乐器的专业技术，这里的其他乐器所指的就是她在此张专辑中大规模应用的乐器，比如奥开斯里特翁琴(一种能模仿管弦乐队各种音色的机械乐器)、玻璃钟琴、风琴、口琴等一些盛行于19世纪或更久远的近乎失传的乐器。在这张“The Golden Morning Breaks”中，她已然完全抛弃了原先那副做音乐小样的姿态与装备，精工细画出极其优雅别致的作品，将那些古董级的器乐音色发挥到极至。如果告诉你这张专辑的标题“The Golden Morning Breaks”正是来源于17世纪的一支琵琶作品，你会不会感到惊讶呢？
在深层次挖掘声音的过程中，Schott的目标就是采用和第一张完全不同的音乐理念和方式来创造出一样的梦幻般的美感。在这张“The Golden Morning Breaks”中，尽管所采用的乐器是不胜枚举的，但细心的听者一定也会分辨出以下这些：原音吉他，前文中提到过的奥开斯里特翁琴，简单的电子琴、风琴，铃铛，竖琴，原始人用木棒演奏的打击乐器，也许还有一些玩具，比如手摇的八音盒。尽管在这张CD中出现的所有乐器都是不插电的，但是Schott一点儿都不为用了效果器而感到不好意思，因为最终的结果是完美的：它完全营造出了和第一张一样的轻薄的美感——那种和云朵一样纯净，不带任何质量、情感，源自未知境地，漂浮不定的感觉。“The Golden Morning Breaks”拥有更为透明和令人折服的品质，即使它哀伤的姿态都是迷人的。
Colleen的音乐给我一个莫大的印象就是太抽象了，完全没有主题与主旋律，你只能完全凭借自己的想象空间去填充和猜测。在不可思议的“Summer Water”里，安排大段的推弦，每一段新的琵琶loop都被影射上一段配套间奏。在每一个被无限膨胀的声效填充的立体光谱中，Colleen听起来又很像Brian Eno早期的音乐——Schott最大的兴趣就是不借助把各种音源聚集到一起然后按顺序整齐的把它们排列成线形的手段，而是直接的制作出具有凌乱美感的音效模型。“Summer Water”是Schott的作品中同时兼具与众不同与清晰结构性的一首歌，也是最容易让人接受让人喜欢的一首。当再次面对她抽象的不定形态的音乐时，我们已经不会再面露难色，因为那声音仿佛曾经在我们的记忆里出现过一样，模糊而遥远，却极其悦耳。
其实你的大脑只有15%的部分是在分辨耳边现在出现的到底是哪种乐器，而剩下的85%已经处于无意识的状态下深深沉浸在它们的余韵当中。"The Heart Harmonicon"里神秘花园的钟鸣声，"The Happy Sea"里港口的风琴声，“I’ll read you a story”里滴答回响的八音盒声……Schott在这张专辑里所采用的全自然的录音手法，到处充满着轻巧和谐的转换，使之成为一张超越你想象的作品。
不管怎么说，“The Golden Morning Breaks”是一张抽象的专辑，即使你那么喜欢它，你也会很挣扎不知道该把它放在什么场合下的什么情绪中来欣赏——你一周中又会给自己多少时间来静静的坐下，闭上双眼聆听这种音乐，去回想小时侯头的无数个黄昏，头顶上掠过的所有光的颜色？如果你不是特别钟情于这种极度抽象但美妙的却无固定形态的纯净器乐音乐形式，那“The Golden Morning Breaks”于你就只是一张华丽的壁画，永远的背景地位，比如你把它当成助你入睡的枕边音乐——当然这也不赖，但绝对不是Colleen能给予你最好的享受。因为如果你可以完全的理解它，这张专辑将是一切可能性与期待值，它将是任何我们将要发问的一切根源：一些简单、美好而连贯的东西，一些可圈可点而又完全基于偶然的想象。它的精妙不是死板的，而是可以生动的流淌的，没有明确流向，时轻时重，时缓时急。与其说这是一张能驾御人的潜意识接近一种引起幻觉的梦幻境地的专辑，还不如说它听起来更有Ancient-Chamber的味道，虽然所应用的器乐大都是古董级的，但丝毫不影响它的文明化和后现代化程度，那是种脱离蒙昧的冥想。
Colleen的第二张专辑展现在我们眼前一条通向更深更广的音乐世界的道路。我沉浸其中，眯着眼仿佛看见无数玄幻的光影在上空乱晃，八音盒的暗紫色眼泪，以及尖顶教堂没有一丝杂色的纯白。那是现实的庇护所，没有冲突，只有宁静与和平……

by John Bush
Arguably the most underrated electronic album of 1994, Visions of the Past alternates between songs of uptempo trance beauty and slower ambient cuts so sinister that the flesh crawls. The best example of the former is &Aqua Viva,& a 12-minute dolphin epic with dolphin sounds; of the eerie tracks, &Northern Dark,& &Dream or Reality& and the title track are the most paranoid.

Published by R&S Records. Marketed & Manufactured by R&S Records/Belgium.
Barcode: 5 411659 169225
Catalogue number (On Front/Rear): AMB 3922 CD
Catalogue number (On CD): AMB 3922CD
Note: track timings are taken from the artwork and vary from actual timings given on CD players.
The sample that gives track 8 its title is Gene Wilder in the movie 'Willy Wonka & The Chocolate Factory', although the line originally comes from a poem called 'Ode' by Arthur O'Shaughnessy.

FM3 went into the VPRO studio for their Mort Aux Vaches session in August 2004, right in the middle of a six-month tour of Europe and North America. The session captured the last-ever performance of FM3 material developed for a project at the Louvre museum,
and was seen by the band as a definitive version of that particular live set. Following this MaV session, the material was retired and never performed again.
Founded in Beijing in 1999, FM3 pioneered avant-garde electronic music in China. Virant works closely with computer musician Zhang Jian, distilling the FM3 sound from traditional Chinese instruments and home-made electronic loop boxes called "buddha machines."

制作：FM3
乐器：张荐 窦唯 老赵
声音助兴：颜峻
录制于北京后海无名
完成于荷兰恩绅格得
感谢王磊授权使用他的作品采样。
这个植根北京，由Christiaan Virant及张荐组成的二人声响艺术乐团，继Buddha Machine之後，再次带来另一神来之笔：后观音。
仍然是充满著破格和超越意味的概念转化。单是演奏阵容，已足以叫人眼前一亮。FM3加上窦唯，绝对是个充满破格性的合作。还有身兼诗人、乐评人、实验演奏家及地下音乐推手的颜峻作声音助兴。而负责出版后观音这张专辑的，又是由Alok (Slow Tech Riddim) 所策划的香港实验厂牌Lona Records。这一切，都叫人对FM3+窦唯这张新专辑万分期待。
与我们所见惯的近年那些已变成陈腔滥调及肤浅的所谓”Crossover”不同，后观音是一次极深层的多向性融合。
音乐上，它不著痕迹地，化合著FM3的实验性环境声像及窦唯的摇滚乐根源，造出一个相互引发及补充的演奏状态。FM3的声像如流质物渗透著窦唯的敲击，诱发出其潜聚待发的环境音乐及後摇滚似的特质。同时间，窦唯那恰到好处的节奏元素，又将FM3声像中的抽像动态，含蓄地彰显成形。
再深一层地聆听，你又会发觉，FM3及窦唯彷佛是在以西方实验音乐的演奏模式，去理解及感悟东方哲学思想的抽像概念。疏落的声响，彷佛水墨画技法般画黑留白。重要的，不在於发声的部份，而在於发声与发声之间，於空白位置所遗下的氛围馀音所造就的冥想空间。憩静而平和得近乎禅的意味。甚至乎是一种近乎无为的演奏状态。同样地画黑留白，全张专辑十一首作品，只有第二、五、九及十一首分别命名「乌」、「无」、「吾」、「悟」，其馀曲目都只是留著空白。从「乌」(黑->色) 到「无」(白->空) 再到「吾」(自我) 及最後「悟」(顿悟) 的过程，透过的，是对於虚空的参悟冥想。这不是很富东方哲学色彩的布局吗？
重实验感而又不乏可听性，概念化之馀又不流於理论化。一切，都能从声响的角度以聆听的方式细意体会及感悟。一种完完全全道地中国的实验音乐。

My third album, Frozen
thank you
got u m8
vocals + guitar + piano = klein
mixing and production = klein
mastering = amir shoat
<3
credits
released April 23, 2020

Laurel Halo presents an album’s worth of score provided for the 2018 experimental documentary Possessed by Dutch design collective Metahaven, produced in collaboration with Rob Schröder and Dutch Mountain Films. Her first foray into writing music for the screen, the album provides a rich variety of sounds, from aqueous, subterranean drones, to plaintive folk pieces for violin and cello, to uncanny pseudoclassical piano mutations.
It’s fitting for Laurel Halo to move into the score world. Already known for her ability to craft evocative, emotionally charged music, the pieces on offer give shade and contour to the central questions of Possessed: how do we find new ways of being together, outside the self-surveillance of social media? What can life look like outside neverending competition? The film’s sophisticated collage including makeup tutorials, phones melted by liquefied lead, FBI facial recognition, selfie risk-takers atop cranes, and ecstatic believers all point to the central question of the film: who is looking out for you?
The soundtrack traverses both the synthetic and acoustic, in keeping with the film’s tension between what is natural and unnatural. Opening track Hyphae unfolds like the eponymous fungal network, spreading and extending indelibly; the Rome Themes signalling religious, romantic yearning; the delicate piano of Marbles recalling the recurrent motif of black marbles, all knocking against one another, but never touching. Zeljava, named after the abandoned former Yugoslavian military airbase featured in the film, is a central piece for its wrenching resonance. In a nod to film music tradition a simple rendition of Pergolesi’s Stabat Mater is also included in the collection.
Violinist Galya Bisengalieva and cellist Oliver Coates provide rich performances, and renowned engineer Paul Corley lends additional production.