Electroacoustic Fragments, Improvised Sounds, Weird Songs and Aural Oddities.
‘Awakenings’ is the first album on LINE by violinist, sound artist, poet, curator, and researcher, Manja Ristić. Her work incorporates extensive field recordings, acoustic instruments, and unexpected found objects. https://lineimprint.bandcamp.com/album/awakenings
Otto Sidharta is born in Bandung, Indonesia November 6, 1955. In the late 1970′ he studied first in Jakarta, under guidance of Slamet Abdul Sjukur, later at the Sweelinck Conservatorium in Holland. In 2015 he accomplished his doctoral study at Institute Seni Indonesia Surakarta and finished in 2016. For years he felt isolated as a composer, not only because of living in Indonesia, but because the nature of his music lay outside the mainstream of electronic composition. Until 2019 he taught for many years in the music departments of several Indonesian universities. He also managed an Indonesian symphony orchestra for five years, a job that included setting up a tour of Japan. https://ottosidharta.bandcamp.com/album/kajang
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. https://janjelinek.bandcamp.com/album/seascape-polyptych
Over the next nine months, while Ruth was living in Hancock, New Hampshire, the couple would speak daily by phone in between visits. Ruth recorded these phone calls and, in 1974, surprised Annea with a cassette containing “Conversations,” a private piece she composed by dexterously collaging fragments of their conversations alongside slowed and throwed snatches of old popular songs: “Yes Sir, That’s My Baby”; “Oh, You Beautiful Doll”; and “Bill Bailey.” The centerpiece of Tête-à-tête, this side of intimate musique concrète extends to its listeners a rare invitation to eavesdrop on the halcyon phenomenon of two people falling in love. Tender and playful throughout, “Conversations” comes to its zenith with a cut-up of relentless laughter of a contagious beauty that is, for once, properly convulsive. https://ergotrecords.bandcamp.com/album/t-te-t-te
Where Ben Vida’s music has previously explored the sound of text at the outer register of electronic composition, here, in collaboration with the Yarn/Wire quartet and the vocalist Nina Dante, the voice and the words it works to inhabit are placed back at the time-scale of a song. There is a familiarity to this music’s combination of restrained melody and heightened atmosphere. It feels, softly, like it’s made by a band: piano, percussion, voice. A composition kept aloft and even by its four stewards through a simultaneity of effort. The pace, across five pieces, hurries and relaxes but never outruns or distends language. You could find a story in the words being sung, if that’s what you need. https://benvida.bandcamp.com/album/the-beat-my-head-hit
Michèle Bokanowski’s art is one of densities, much like the density of a given colour, a given depth. Her sound textures are, indeed, profound, both in the space occupied by their frequencies and the sharp temporal trail they leave behind. Here lies the composer’s immense talent that finds the right development for each sound, letting it blossom before altering it, adapting the musical structure to let the sounds “be”, even if it sometimes means returning to the most basic form, such as a loop. This is a sign of great honesty and artistic sensitivity; able to stand back and let the music become music. It is the most radical, the most accurate gesture of composition. The two pieces on this record, dissociated in time, both in their approach and destination, nevertheless reflect, each in its own way, Michèle Bokanowski’s highly singular and insightful musical intuition. https://recollectiongrm.bandcamp.com/album/rhapsodia-battements-solaires-2
The Purge of Tomorrow.
Constantly evolving and adapting his sound, Shackleton has releases spanning labels such as Honest Jon’s, Perlon and his own imprints, Skull Disco (co-founded with Appleblim) and Woe to the Septic Heart!. Shackleton now finds a home for a brand new project on the Barcelona-based, Modern Obscure Music. https://modernobscuremusic.bandcamp.com/album/the-other-side-of-devastation
A” Trio + Alan Bishop.
It is through his work for “world music” label Sublime Frequencies, that Bishop met and became friends with Lebanese improvising musicians Mazen Kerbaj (trumpet), Raed Yassin (double bass) and Sharif Sehnaoui (electric guitar), who have operated collectively as free jazz unit “A Trio” since 2003. In 2012, during a trip to Beirut to participate in the annual Irtijal Festival for Experimental Music, Bishop entered the studio with Kerbaj, Sehnaoui and Yassin, to lay down the first rough sketches of the “Burj el Imam” album. https://annihayarecords.bandcamp.com/album/burj-al-imam
The Magic I.D.
The Magic I.D. is a Berlin-based quartet exploring the juncture of song forms with abstract music. The band, consisting of Margareth Kammerer, Christof Kurzmann, Kai Fagaschinski and Michael Thieke, formed in summer 2005 after previously being connected via smaller groupings and projects. till my breath gives out is their debut release, and consists of six intricately constructed gems, each with its own individual shape, painstakingly sequenced to form a record that becomes more than the sum of its parts. https://erstwhilerecords.bandcamp.com/album/till-my-breath-gives-out-2
Manifold Vista is the new album by composer/producer Thanos Chrysakis. Rarely can something so meticulously assembled together sound so fluid. A distinct, disciplined sense for composition emerges from each of these works, displaying formal integrity while at the same time, they are also effervescent, forceful, fiercely idiosyncratic and beautifully shaped and transformed. The album discloses an expanded and detailed vista of sound’s interiority forming a strangely pleasurable, not to mention engaging, experience. https://aufabwegen.bandcamp.com/album/manifold-vista
Michael Cooper (born 24 August 1942) is an English guitarist and singer-songwriter. Initially coming to attention as a country blues performer, his later work also straddles jazz, Polynesian, ambient, and various experimental and improvisational styles. https://room40.bandcamp.com/album/black-flamingo
Marta Salogni & Tom Relleen.
Music for Open Spaces is more than a collection of eleven masterly composed pieces of experimental music inspired by moving landscapes such as the Joshua Tree desert, the Cornwall coastline or the inward Londoner abode: it is an adventure into a compelling intellectual landscape that involves the listener while opening unexpected perspectives at every step towards a new beginning.
Listening to the tracks induces us to find our own way beyond the consuetudinary geometries through which we decipher our interaction with the ambient, offering us the chance of a true discipline of perception. https://martasalogni.bandcamp.com/album/music-for-open-spaces
Greek electronic music legend Lena Platonos returns to Dark Entries with Balancers, an LP of previously unreleased material recorded between 1982-1985. Athens-based Platonos has worked with the label previously to reissue her three solo LPs – Gallop, Sun Masks, and Lepidoptera – as well as to release three accompanying 12” EPs featuring modern remixes of her work. She is renowned for her forays into cutting-edge electronic experimentation as well as her striking, impressionistic poetry and lyrics, always recited in Greek.
The twelve tracks on Balancers reveal a murkier side of Lena, one draped in tenebrous washes and oneiric utterances https://lenaplatonos.bandcamp.com/album/balancers