Zaumne // Parfum LP

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Polish dub-pop artist Zaumne released a record in July 2023 on the experimental/ambient label sferic in Manchester, England.

Contains 9 tracks of experimental ambient and ambient jazz suitable for late night.It is already out of print.

Previous workIs also recommended.

*If you would like a digital sound source, please feel free to contact us.

-------------------------------------------

Ask us for digital files. Edition of 300. 12" black vinyl.

Tracklist:

Voyageur 03:26
Sorcières (feat. YL Hooi) 04:52
Oeil Rouge 04:34
Éther 04:08
Tête 04:17
Nymphes 05:33
Ombres (feat. Metoronori) 03:27
Prairie (feat. Patrick Shiroishi) 04:21
Fantasy 04:17

Text by Boomkat (distribution) via the label:

"Properly stunning fever-dreamweaving on this new one from Zaumne, occupying an elevated space at the intersection of flickering dub-pop and ASMR soundscaping. If you're into anything from HTRK to Malibu, Félicia Atkinson to Voice Actor, consider it a major life enhancement.

For his Sferic debut, Zaumne enlists YL Hooi - a constant source of inspiration for many of us here, as well as Metoronori and the muted sax of Patrick Shiroishi. Loosely inspired by Baudelaire's 'Flowers of Evil' (soft spoken extracts of which appear throughout), the album is a sort of exercise in escapism and sensual wandering.

Throughout 'Parfum', faded pop is fleshed out with surreal elegance: all flickering neon and half-heard whispers suggestive of blurred late night fantasies; liminal, abstract, and highly evocative. Sounds hang in the air like incense, caressing the senses with an intentionality that's missing from so much landfill ambient. a rhythmic throb that reduces dub techno to a faint knock. There are echoes of music from the fringes of the afterhours club scene too: Andrew Pekler's obscure imaginary landscapes, Jake Muir's druggy bathhouse vapors, DJ Lostboi's balmy introspection. But despite a shared bleary–eyed aesthetic, Zaumne's sound is more explicit and well defined, and with it brings a more acute emotional pull.

When YL Hooi appears on 'Sorcières', her voice; drenched in reverb but absolutely crystalline, takes proceedings to a whole other level, reminding us of Natalie Beridze's perennially overlooked 'The Wrestler' from her 2003 album for Thomas Brinkmann's Max Ernst label; a sort of echo chamber dub perfectly re-imagined as dreampop. cloud of looping synths and twinkling bells, and on 'Nymphes' a wash of pads, wind chimes and waves lapping at the shore somehow manages to swerve all the associated schmaltz you'd imagine and instead gives us the same tingling sensation we had when we first heard Art of Noise's 'In Visible Silence' at dusk, on a beach in the south of France, what seems like forever ago.

There's a ritualistic quality to Zaumne's music too, as if he's burning rare gums and mosses over smoldering coals in a remote Carpathian clearing. Hikari Okuyama, aka Metoronori, brings her pointed surrealism to 'Ombres', adding a softly spoken wonder to Olszewski's chimes, while Los Angeles-based multi-instrumentalist and Patrick Shiroishi contributes composer horn curliques to 'Prairie', usher ing us towards the same sonic space inhabited by Bohren und der Club of Gore and Julee Cruise.

Perfect late night music."

Artist: Zaumne

Label: sferic

Polish dub-pop artist Zaumne released a record in July 2023 on the experimental/ambient label sferic in Manchester, England.

Contains 9 tracks of experimental ambient and ambient jazz suitable for late night.It is already out of print.

Previous workIs also recommended.

*If you would like a digital sound source, please feel free to contact us.

-------------------------------------------

Ask us for digital files. Edition of 300. 12" black vinyl.

Tracklist:

Voyageur 03:26
Sorcières (feat. YL Hooi) 04:52
Oeil Rouge 04:34
Éther 04:08
Tête 04:17
Nymphes 05:33
Ombres (feat. Metoronori) 03:27
Prairie (feat. Patrick Shiroishi) 04:21
Fantasy 04:17

Text by Boomkat (distribution) via the label:

Artist: Zaumne

Label: sferic

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C60 cassette in norelco case.\u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"lightweightBreak\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRecorded and mixed by Jaroslav Kořán, 1990-91, Pagoda Studio, Prague. \u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eRemastered by Michal Kořán, 2018. \u003c\/span\u003e\u003cspan id=\"package_description_0\" class=\"peekaboo-text\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Smalt Blue 05:20\u003cbr\u003e2. Coffee Dark Blue 06:44\u003cbr\u003e3. Afternoon Ultramarine (Ta naše jediná a nejlepší) 06:03\u003cbr\u003e4. Evening Indigo 07:26\u003cbr\u003e5. Prague Blue 03:06\u003cbr\u003e6. Pub Cobalt 03:12\u003cbr\u003e7. Smoke Green Blue 04:41\u003cbr\u003e8. Night Denim 03:29\u003cbr\u003e9. Morning Azure 05:22\u003cbr\u003e10. Hyacinth Blue 01:48\u003cbr\u003e11. Metal Blue 04:09\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eText by Infinite Expanse:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\u003cspan class=\"peekaboo-text\" id=\"package_description_0\"\u003e\"The nineties were full of changes and new energies\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan class=\"peekaboo-text\" id=\"package_description_0\"\u003e in Prague. Concerts were organized in galleries, people listened with interest to emerging bands and new musical directions were followed. In this period, there was a growing interest in alternative art, and Richter Band, one of the leading alternative bands operating in the borders between ambient, new age and meditative music, was in its accession. After years of modest gigging in the late 80s, interest in seeing them perform live began to increase and the band started to tour not just the Czech regions but also ventured abroad.\u003cbr\u003e\u003cspan class=\"lightweightBreak\"\u003e\u003c\/span\u003e\u003cbr\u003eAt the same time, Jaroslav Kořán, a fiddlerophone and percussion player, left the group and began to experiment with his own music. With him, he brought a range of musical experience from playing in the alternative rock group, Vyšší Populár, and the ambient outfit, Richter Band, as well as building and playing hand-made instruments. The fidlerophone, a unique instrument assembled using aluminium pots and mounted on sprung stands, formed the characteristic sound of Richter Band when played in unison with the subtle sounds of Pavel Richter’s electric guitar, and would later inspire Jaroslav to experiment in creating his own instruments.\u003cbr\u003e\u003cspan class=\"lightweightBreak\"\u003e\u003c\/span\u003e\u003cbr\u003eAlthough he already owned a sampler and played the piano, as a drummer, he was constantly seeking new percussive instruments and sounds, ranging from water glasses and pots to porcelain plates and salad bowls. In the summer of 1990, he experimented with nails hammered into wood in Šumava, a national park in the South Bohemian regions of the Czech Republic, and the first \"Šumava (or village) kalimbas\" were created. Together with his brother Michal, they refined the kalimbas, trying out repetitive melodies on them, which they would then record at home and supplement with loops from a sampler and slowed-down tapes.\u003cbr\u003e\u003cspan class=\"lightweightBreak\"\u003e\u003c\/span\u003e\u003cbr\u003eThe newly recorded material, full of rhythms, pre-recorded loops and Michal Kořán's synthesizer, was presented for the first time in public in April 1990 at the Klarisky concert hall in Bratislava. Soon after, Jaroslav met Marek Hanzlík, a guitarist from another Prague-based band, Die Archa, leading to the formation of a new musical trio named Modrá (“Blue”). This led to a fundamental musical shift, with Marek’s prepared guitar bringing subtle harmonies and an unusual sound to the rhythmic structures, complemented by Jaroslav Kořán's slowed-down pre-recorded tapes, sampled loops and voices.\u003cbr\u003e\u003cspan class=\"lightweightBreak\"\u003e\u003c\/span\u003e\u003cbr\u003eOver November 1990 to June 1991, Modrá made a number of recordings in Jaroslav’s home studio. For “Bohemian Blue”, the most interesting pieces from this period were selected and supplemented with two compositions recorded live at a home concert in February 1991. Although the group was only short-lived, disbanding in the second half of 1991, it represents an important period of musical experimentation and marked the dawn of the nascent Orloj Snivců (“Horologe of Dreamers”), with whom Jaroslav Kořán still performs today.\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Modrá\u003c\/p\u003e\n\u003cp\u003eLabel : Infinite Expanse\u003c\/p\u003e\n\u003cp\u003eCAT No: IE12\u003c\/p\u003e","published_at":"2024-05-05T14:18:39+09:00","created_at":"2024-05-05T10:48:26+09:00","vendor":"Tobira Records","type":"","tags":["ambient","Infinite Expanse","new","recommended","strange beats","tape"],"price":219000,"price_min":219000,"price_max":219000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":45851580727546,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Modrá \/\/ Bohemian Blue TAPE","public_title":null,"options":["Default Title"],"price":219000,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/bo1_03f9df6d-fab1-4386-92ed-7f9038444d1b.jpg?v=1714873709","\/\/tobirarecords.com\/cdn\/shop\/files\/bo2.jpg?v=1714873709"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo1_03f9df6d-fab1-4386-92ed-7f9038444d1b.jpg?v=1714873709","options":["Title"],"media":[{"alt":null,"id":33938249548026,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo1_03f9df6d-fab1-4386-92ed-7f9038444d1b.jpg?v=1714873709"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo1_03f9df6d-fab1-4386-92ed-7f9038444d1b.jpg?v=1714873709","width":700},{"alt":null,"id":33938249580794,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo2.jpg?v=1714873709"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo2.jpg?v=1714873709","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e1990-1991年にひっそりと活動していたチェコ・プラハの実験アンビエントトリオModráが、2024年5月にイギリスの再発専門レーベルInfinite Expanseからリリースした再発カセットです。（オリジナルは2018年リリース）\u003c\/p\u003e\n\u003cp\u003e手作りのカリンバやプリペアードギター、テープコラージュなど用いた実験アンビエント〜ストレンジビーツ曲を収録。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e以下、レーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"90年代のプラハは変化と新しいエネルギーに満ちていた。ギャラリーでコンサートが企画され、人々は新進のバンドに興味をもって耳を傾け、新しい音楽の方向性が追求された。この時期、オルタナティヴアートへの関心が高まり、アンビエント、ニューエイジ、瞑想音楽の境界で活動する代表的なオルタナティヴバンド、リヒターバンドが登場した。80年代後半、控えめなギグを何年も続けた後、彼らのライブを見ることへの関心が高まり始め、バンドはチェコ地方だけでなく、海外にもツアーを敢行するようになった。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e同じ頃、バイオリンとパーカッション奏者のヤロスラフ・コジャーンがグループを脱退し、独自の音楽を試み始めた。彼は、オルタナティヴロックグループのヴィーシ・ポプラールやアンビエント音楽のリヒターバンドで演奏し、手作りの楽器を作って演奏するなど、さまざまな音楽経験を持ち込んだ。フィドラーフォンは、アルミニウムのポットを組み立て、バネのついたスタンドに取り付けたユニークな楽器で、パヴェル・リヒターのエレキギターの繊細な音とユニゾンで演奏されると、リヒターバンドの特徴的なサウンドを形成した。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eすでにサンプラーを所有し、ピアノも演奏していたが、ドラマーとして、水ガラスやポットから磁器の皿やサラダボウルまで、常に新しいパーカッシブな楽器や音を求めていた。1990年の夏、チェコ共和国の南ボヘミア地方にある国立公園、シュマヴァで木に釘を打ち込む実験を行い、最初の「シュマヴァ（村）・カリンバ」が誕生した。弟のミハエルとともに、カリンバを改良し、反復するメロディーをカリンバで試し、それを自宅で録音し、サンプラーのループやスローダウンしたテープで補った。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eリズム、録音済みループ、ミハエル・コジャンのシンセサイザーが満載の新録音材は、1990年4月、ブラチスラヴァのクラリスキーコンサートホールで初めて人前で披露された。その直後、ヤロスラフは、プラハを拠点とする別のバンド、ディ・アルカのギタリスト、マレク・ハンズリークと出会い、Modrá（「青」）と名付けられた新しい音楽トリオの結成につながった。マレクのプリペアードギターが微妙なハーモニーと珍しいサウンドをリズム構造にもたらし、ヤロスラフ・コジャンのスローダウンされた録音済みテープ、サンプリングされたループや声がそれを補完する。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e1990年11月から1991年6月にかけて、Modráはヤロスラフの自宅スタジオで数多くのレコーディングを行った。Bohemian Blueでは、この時期の最も興味深い作品を選び、1991年2月のホームコンサートでライヴ録音された2曲を加えた。このグループは1991年後半に解散し、短命に終わったが、音楽的実験の重要な時期であり、ヤロスラフ・コジャーンが現在も共演している新生オルロジ・スニヴチュ（「夢追い人の時計」）の幕開けとなった。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=794851547\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=794851547\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=3831189848\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=794851547\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=1956944553\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=794851547\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=1670915447\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=794851547\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=2242299244\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/inex\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/inex\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/inex\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/inex\"\u003ehere\u003c\/a\u003e to see more Infinite Expanse releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e----------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. C60 cassette in norelco case.\u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"lightweightBreak\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRecorded and mixed by Jaroslav Kořán, 1990-91, Pagoda Studio, Prague. \u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eRemastered by Michal Kořán, 2018. \u003c\/span\u003e\u003cspan id=\"package_description_0\" class=\"peekaboo-text\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Smalt Blue 05:20\u003cbr\u003e2. Coffee Dark Blue 06:44\u003cbr\u003e3. Afternoon Ultramarine (Ta naše jediná a nejlepší) 06:03\u003cbr\u003e4. Evening Indigo 07:26\u003cbr\u003e5. Prague Blue 03:06\u003cbr\u003e6. Pub Cobalt 03:12\u003cbr\u003e7. Smoke Green Blue 04:41\u003cbr\u003e8. Night Denim 03:29\u003cbr\u003e9. Morning Azure 05:22\u003cbr\u003e10. Hyacinth Blue 01:48\u003cbr\u003e11. Metal Blue 04:09\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eText by Infinite Expanse:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\u003cspan class=\"peekaboo-text\" id=\"package_description_0\"\u003e\"The nineties were full of changes and new energies\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan class=\"peekaboo-text\" id=\"package_description_0\"\u003e in Prague. Concerts were organized in galleries, people listened with interest to emerging bands and new musical directions were followed. In this period, there was a growing interest in alternative art, and Richter Band, one of the leading alternative bands operating in the borders between ambient, new age and meditative music, was in its accession. After years of modest gigging in the late 80s, interest in seeing them perform live began to increase and the band started to tour not just the Czech regions but also ventured abroad.\u003cbr\u003e\u003cspan class=\"lightweightBreak\"\u003e\u003c\/span\u003e\u003cbr\u003eAt the same time, Jaroslav Kořán, a fiddlerophone and percussion player, left the group and began to experiment with his own music. With him, he brought a range of musical experience from playing in the alternative rock group, Vyšší Populár, and the ambient outfit, Richter Band, as well as building and playing hand-made instruments. The fidlerophone, a unique instrument assembled using aluminium pots and mounted on sprung stands, formed the characteristic sound of Richter Band when played in unison with the subtle sounds of Pavel Richter’s electric guitar, and would later inspire Jaroslav to experiment in creating his own instruments.\u003cbr\u003e\u003cspan class=\"lightweightBreak\"\u003e\u003c\/span\u003e\u003cbr\u003eAlthough he already owned a sampler and played the piano, as a drummer, he was constantly seeking new percussive instruments and sounds, ranging from water glasses and pots to porcelain plates and salad bowls. In the summer of 1990, he experimented with nails hammered into wood in Šumava, a national park in the South Bohemian regions of the Czech Republic, and the first \"Šumava (or village) kalimbas\" were created. Together with his brother Michal, they refined the kalimbas, trying out repetitive melodies on them, which they would then record at home and supplement with loops from a sampler and slowed-down tapes.\u003cbr\u003e\u003cspan class=\"lightweightBreak\"\u003e\u003c\/span\u003e\u003cbr\u003eThe newly recorded material, full of rhythms, pre-recorded loops and Michal Kořán's synthesizer, was presented for the first time in public in April 1990 at the Klarisky concert hall in Bratislava. Soon after, Jaroslav met Marek Hanzlík, a guitarist from another Prague-based band, Die Archa, leading to the formation of a new musical trio named Modrá (“Blue”). This led to a fundamental musical shift, with Marek’s prepared guitar bringing subtle harmonies and an unusual sound to the rhythmic structures, complemented by Jaroslav Kořán's slowed-down pre-recorded tapes, sampled loops and voices.\u003cbr\u003e\u003cspan class=\"lightweightBreak\"\u003e\u003c\/span\u003e\u003cbr\u003eOver November 1990 to June 1991, Modrá made a number of recordings in Jaroslav’s home studio. For “Bohemian Blue”, the most interesting pieces from this period were selected and supplemented with two compositions recorded live at a home concert in February 1991. Although the group was only short-lived, disbanding in the second half of 1991, it represents an important period of musical experimentation and marked the dawn of the nascent Orloj Snivců (“Horologe of Dreamers”), with whom Jaroslav Kořán still performs today.\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Modrá\u003c\/p\u003e\n\u003cp\u003eLabel : Infinite Expanse\u003c\/p\u003e\n\u003cp\u003eCAT No: IE12\u003c\/p\u003e"}

This is a reissue cassette released by Modrá, an experimental ambient trio from Prague, Czech Republic, who was quietly active in 1990-1991, from the British reissue specialty label Infinite Expanse in May 2024. (Originally released in 5) Contains experimental ambient to strange beats songs using handmade kalimba, prepared guitar, tape collage, etc. DL code included. Below is an explanation by the label. "Prague in the 2018s was full of change and new energy. Concerts were organized in galleries, people listened with interest to up-and-coming bands, and new musical directions were pursued. During this period, there was a shift towards alternative art. In the late 90s, after years of low-key gigs, the Richter Band, a leading alternative band operating at the border of ambient, new age, and meditative music, emerged. Interest in the band began to grow, and the band toured not only in the Czech Republic but also abroad. Around the same time, violinist and percussionist Jaroslav Kojan left the group and began experimenting with his own music. He brought with him a variety of musical experience, including playing in the alternative rock group Visi Poplar and the ambient music band Richterband, as well as building and playing handmade instruments. A unique instrument mounted on a spring-loaded stand, when played in unison with the delicate tones of Pawel Richter's electric guitar, it formed the signature sound of the Richter Band, who already owned a sampler and a piano. As a drummer, he was always looking for new percussive instruments and sounds, from water glasses and pots to porcelain plates and salad bowls. In Šumava, he experimented with driving nails into trees, and the first Šumava (village) Kalimba was born. Together with his brother Michael, he refined the kalimba, experimenting with repeating melodies on the kalimba, recording them at home and supplementing them with sampler loops and slowed-down tapes. The new recording, full of rhythms, pre-recorded loops and Michael Kojan's synthesizer, was first shown in public at Bratislava's Klarisky Concert Hall in April 80. Shortly after that, Jaroslav met Marek Hanzlik, guitarist of another Prague-based band, Di Arca, which led to the formation of a new musical trio named Modrá ("Blue"). Marek's prepared guitar brings subtle harmonies and unusual sounds to the rhythmic structure, complemented by Jaroslav Kocan's slowed-down pre-recorded tapes, sampled loops and voice. From November 1990 to June 1990, Modrá made a number of recordings at his home studio in Jaroslav. Bohemian Blue selects the most interesting works from this period and includes two songs recorded live at a home concert in February 4. The group disbanded in late 1990 and was short-lived, but it marked a significant period of musical experimentation, and the beginning of the new Orloj Snivči (The Dream Chaser's Clock), with whom Yaroslav Kozhan still performs. It was the beginning. "Click here to see more...

¥2,190

Carlos Niño & Friends // Assortment for Susan's Tape

Quickview {"id":8414481449210,"title":"Carlos Niño \u0026 Friends \/\/ Assortment for Susan's TAPE","handle":"carlos-nino-friends-assortment-for-susans-tape","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eアメリカ・LAのパーカッショニストCarlos Niñoが、2022年12月にLAのLeaving Recordsからリリースしたカセットです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eアンビエント・スピリチュアルジャズ16曲を収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4290817798\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eレーベルその他作品は\u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/leaving\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/leaving\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \/\/\/ Click \u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/leaving\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/leaving\"\u003ehere\u003c\/a\u003e\u003cspan\u003e to see more Leaving Records\/Stones Throw releases available at Tobira. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e------------------------\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAsk us for digital files.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDescription by the artist:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eMatthewdavid and I agreed that the idea of releasing\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003emy three Carlos Niño \u0026amp; Friends full-lengths -\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFlutes, Echoes, It's All Happening! (2016), Going Home (2017),\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eand Bliss On Dear Oneness (2019) all originally released\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eon LP and Digital by Leaving Records - on cassette for the first time,\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ewas a good one. When I went to figure out where the side breaks\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ewould be in the track sequence, I realized that none of them\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ewould fit very well, due to timing and length. I have run into\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ethis issue before with cassette and vinyl sequences, as there\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eis only so much music that can be pressed onto a side.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn some cases I have had to edit or omit songs to fit a side\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eof vinyl.\u003cbr data-mce-fragment=\"1\"\u003eThey make different lengths, durations of tape, and I considered\u003cbr data-mce-fragment=\"1\"\u003edifferent track orders for each individual record, but somehow\u003cbr data-mce-fragment=\"1\"\u003enone of the configurations that I came up with were working\u003cbr data-mce-fragment=\"1\"\u003efor these to become cassette releases. I then conceived of a\u003cbr data-mce-fragment=\"1\"\u003esingle tape (C80, 40 minutes a side) that would compile songs\u003cbr data-mce-fragment=\"1\"\u003efrom these releases with a couple pieces from my previous\u003cbr data-mce-fragment=\"1\"\u003eself-released LP Aurorasmushroomtenderness (2014) and\u003cbr data-mce-fragment=\"1\"\u003ethe one that came before that on (the long defunct) Porter Records\u003cbr data-mce-fragment=\"1\"\u003eAquariusssssss (2012). Matthewdavid and I had always thought\u003cbr data-mce-fragment=\"1\"\u003ethat it would be a good idea for a couple new pieces to come out\u003cbr data-mce-fragment=\"1\"\u003eDigitally in conjunction with the tape releases. In this new concept\u003cbr data-mce-fragment=\"1\"\u003eI was able to start each side with one of the new pieces I had ready.\u003cbr data-mce-fragment=\"1\"\u003eThe title Assortment for Susan's is a living, Loving tribute to our\u003cbr data-mce-fragment=\"1\"\u003eDear Friend and Collaborator Justin Hansohn and his community\u003cbr data-mce-fragment=\"1\"\u003ecompany Anandamide. The Anandamide headquarters\u003cbr data-mce-fragment=\"1\"\u003ein Elysian Park, California is called Susan's, named after the dog\u003cbr data-mce-fragment=\"1\"\u003ethat he shares with his partner Taylor. LOVE to Justin, Taylor,\u003cbr data-mce-fragment=\"1\"\u003eSusan, Monkey, Warren, and all of the Anandamide Family . . .\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e...\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSide A\u003cbr data-mce-fragment=\"1\"\u003e1. Bioluminescence (featuring Laraaji\u003cbr data-mce-fragment=\"1\"\u003eand Ariel Kalma, with Surya Botofasina)\u003cbr data-mce-fragment=\"1\"\u003e2. Pulsating (with Laraaji,\u003cbr data-mce-fragment=\"1\"\u003eJamael Dean and Sharada Shashidhar)\u003cbr data-mce-fragment=\"1\"\u003e3. Forest Pulse (with Laraaji and Photay)\u003cbr data-mce-fragment=\"1\"\u003e4. Esssssssence (with Ish of Shabazz Palaces\u003cbr data-mce-fragment=\"1\"\u003eand Jamael Dean)\u003cbr data-mce-fragment=\"1\"\u003e5. Trance Elation Poem (with Akiko, Hashim and Fuji)\u003cbr data-mce-fragment=\"1\"\u003e6. Jupiter Sings (with lasos)\u003cbr data-mce-fragment=\"1\"\u003e7. Going Home (with Iasos)\u003cbr data-mce-fragment=\"1\"\u003e8. Aetheriaztlan (with Jesse Peterson\u003cbr data-mce-fragment=\"1\"\u003eand Aztlan Unearthed)\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSide B\u003cbr data-mce-fragment=\"1\"\u003e1. Drum Solo +, \"Sounds like memory . . .\"\u003cbr data-mce-fragment=\"1\"\u003e(featuring Marcus Gilmore, with Devin Daniels,\u003cbr data-mce-fragment=\"1\"\u003eNate Mercereau, Maia, and Surya Botofasina)\u003cbr data-mce-fragment=\"1\"\u003e2. Light-Codes (with Dexter Story,\u003cbr data-mce-fragment=\"1\"\u003eJosh Johnson and SK Kakraba)\u003cbr data-mce-fragment=\"1\"\u003e3. OrganicSelf (with Deantoni Parks, Dexter Story,\u003cbr data-mce-fragment=\"1\"\u003eJosh Johnson, and Miguel Atwood-Ferguson)\u003cbr data-mce-fragment=\"1\"\u003e4. Mezame (Awakening)\u003cbr data-mce-fragment=\"1\"\u003e(by Carlos Niño \u0026amp; Miguel Atwood-Ferguson)\u003cbr data-mce-fragment=\"1\"\u003e5. Ojai CBD 072918 (with Jamire Williams and Sam Gendel)\u003cbr data-mce-fragment=\"1\"\u003e6. Calimayan (with Nate Morgan and Yaakov Levy)\u003cbr data-mce-fragment=\"1\"\u003e7. Heatwaves (with Daedelus) \/ Forward To The Sun\u003cbr data-mce-fragment=\"1\"\u003e(with Jesse Peterson and Kamasi Washington)\u003cbr data-mce-fragment=\"1\"\u003e8. Baawdoobipp 032215\u003cbr data-mce-fragment=\"1\"\u003e(with Brandon Eugene Owens,\u003cbr data-mce-fragment=\"1\"\u003eDexter Story, Kamasi Washington,\u003cbr data-mce-fragment=\"1\"\u003eMiguel Atwood-Fergsuon,\u003cbr data-mce-fragment=\"1\"\u003eand Mark De Clive-Lowe)\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e”\u003c\/span\u003e \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist : \u003cmeta charset=\"utf-8\"\u003e \u003cem data-mce-fragment=\"1\"\u003eCarlos Niño \u0026amp; Friends\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLabel : Leaving Records\u003c\/span\u003e\u003c\/p\u003e","published_at":"2024-05-04T08:51:16+09:00","created_at":"2024-05-04T08:50:47+09:00","vendor":"Tobira Records","type":"","tags":["ambient","folk \/ left-field pop","jazz","leaving records","new","post newage","tape"],"price":229500,"price_min":229500,"price_max":229500,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":45847976050938,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Carlos Niño \u0026 Friends \/\/ Assortment for Susan's TAPE","public_title":null,"options":["Default Title"],"price":229500,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/a1115365897_16.jpg?v=1714780250","\/\/tobirarecords.com\/cdn\/shop\/files\/0030712212_10.jpg?v=1714780250"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/a1115365897_16.jpg?v=1714780250","options":["Title"],"media":[{"alt":null,"id":33932650479866,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a1115365897_16.jpg?v=1714780250"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a1115365897_16.jpg?v=1714780250","width":700},{"alt":null,"id":33932650512634,"position":2,"preview_image":{"aspect_ratio":1.5,"height":800,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0030712212_10.jpg?v=1714780250"},"aspect_ratio":1.5,"height":800,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0030712212_10.jpg?v=1714780250","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eアメリカ・LAのパーカッショニストCarlos Niñoが、2022年12月にLAのLeaving Recordsからリリースしたカセットです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eアンビエント・スピリチュアルジャズ16曲を収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4290817798\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eレーベルその他作品は\u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/leaving\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/leaving\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \/\/\/ Click \u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/leaving\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/leaving\"\u003ehere\u003c\/a\u003e\u003cspan\u003e to see more Leaving Records\/Stones Throw releases available at Tobira. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e------------------------\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAsk us for digital files.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDescription by the artist:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eMatthewdavid and I agreed that the idea of releasing\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003emy three Carlos Niño \u0026amp; Friends full-lengths -\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFlutes, Echoes, It's All Happening! (2016), Going Home (2017),\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eand Bliss On Dear Oneness (2019) all originally released\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eon LP and Digital by Leaving Records - on cassette for the first time,\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ewas a good one. When I went to figure out where the side breaks\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ewould be in the track sequence, I realized that none of them\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ewould fit very well, due to timing and length. I have run into\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ethis issue before with cassette and vinyl sequences, as there\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eis only so much music that can be pressed onto a side.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn some cases I have had to edit or omit songs to fit a side\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eof vinyl.\u003cbr data-mce-fragment=\"1\"\u003eThey make different lengths, durations of tape, and I considered\u003cbr data-mce-fragment=\"1\"\u003edifferent track orders for each individual record, but somehow\u003cbr data-mce-fragment=\"1\"\u003enone of the configurations that I came up with were working\u003cbr data-mce-fragment=\"1\"\u003efor these to become cassette releases. I then conceived of a\u003cbr data-mce-fragment=\"1\"\u003esingle tape (C80, 40 minutes a side) that would compile songs\u003cbr data-mce-fragment=\"1\"\u003efrom these releases with a couple pieces from my previous\u003cbr data-mce-fragment=\"1\"\u003eself-released LP Aurorasmushroomtenderness (2014) and\u003cbr data-mce-fragment=\"1\"\u003ethe one that came before that on (the long defunct) Porter Records\u003cbr data-mce-fragment=\"1\"\u003eAquariusssssss (2012). Matthewdavid and I had always thought\u003cbr data-mce-fragment=\"1\"\u003ethat it would be a good idea for a couple new pieces to come out\u003cbr data-mce-fragment=\"1\"\u003eDigitally in conjunction with the tape releases. In this new concept\u003cbr data-mce-fragment=\"1\"\u003eI was able to start each side with one of the new pieces I had ready.\u003cbr data-mce-fragment=\"1\"\u003eThe title Assortment for Susan's is a living, Loving tribute to our\u003cbr data-mce-fragment=\"1\"\u003eDear Friend and Collaborator Justin Hansohn and his community\u003cbr data-mce-fragment=\"1\"\u003ecompany Anandamide. The Anandamide headquarters\u003cbr data-mce-fragment=\"1\"\u003ein Elysian Park, California is called Susan's, named after the dog\u003cbr data-mce-fragment=\"1\"\u003ethat he shares with his partner Taylor. LOVE to Justin, Taylor,\u003cbr data-mce-fragment=\"1\"\u003eSusan, Monkey, Warren, and all of the Anandamide Family . . .\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e...\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSide A\u003cbr data-mce-fragment=\"1\"\u003e1. Bioluminescence (featuring Laraaji\u003cbr data-mce-fragment=\"1\"\u003eand Ariel Kalma, with Surya Botofasina)\u003cbr data-mce-fragment=\"1\"\u003e2. Pulsating (with Laraaji,\u003cbr data-mce-fragment=\"1\"\u003eJamael Dean and Sharada Shashidhar)\u003cbr data-mce-fragment=\"1\"\u003e3. Forest Pulse (with Laraaji and Photay)\u003cbr data-mce-fragment=\"1\"\u003e4. Esssssssence (with Ish of Shabazz Palaces\u003cbr data-mce-fragment=\"1\"\u003eand Jamael Dean)\u003cbr data-mce-fragment=\"1\"\u003e5. Trance Elation Poem (with Akiko, Hashim and Fuji)\u003cbr data-mce-fragment=\"1\"\u003e6. Jupiter Sings (with lasos)\u003cbr data-mce-fragment=\"1\"\u003e7. Going Home (with Iasos)\u003cbr data-mce-fragment=\"1\"\u003e8. Aetheriaztlan (with Jesse Peterson\u003cbr data-mce-fragment=\"1\"\u003eand Aztlan Unearthed)\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSide B\u003cbr data-mce-fragment=\"1\"\u003e1. Drum Solo +, \"Sounds like memory . . .\"\u003cbr data-mce-fragment=\"1\"\u003e(featuring Marcus Gilmore, with Devin Daniels,\u003cbr data-mce-fragment=\"1\"\u003eNate Mercereau, Maia, and Surya Botofasina)\u003cbr data-mce-fragment=\"1\"\u003e2. Light-Codes (with Dexter Story,\u003cbr data-mce-fragment=\"1\"\u003eJosh Johnson and SK Kakraba)\u003cbr data-mce-fragment=\"1\"\u003e3. OrganicSelf (with Deantoni Parks, Dexter Story,\u003cbr data-mce-fragment=\"1\"\u003eJosh Johnson, and Miguel Atwood-Ferguson)\u003cbr data-mce-fragment=\"1\"\u003e4. Mezame (Awakening)\u003cbr data-mce-fragment=\"1\"\u003e(by Carlos Niño \u0026amp; Miguel Atwood-Ferguson)\u003cbr data-mce-fragment=\"1\"\u003e5. Ojai CBD 072918 (with Jamire Williams and Sam Gendel)\u003cbr data-mce-fragment=\"1\"\u003e6. Calimayan (with Nate Morgan and Yaakov Levy)\u003cbr data-mce-fragment=\"1\"\u003e7. Heatwaves (with Daedelus) \/ Forward To The Sun\u003cbr data-mce-fragment=\"1\"\u003e(with Jesse Peterson and Kamasi Washington)\u003cbr data-mce-fragment=\"1\"\u003e8. Baawdoobipp 032215\u003cbr data-mce-fragment=\"1\"\u003e(with Brandon Eugene Owens,\u003cbr data-mce-fragment=\"1\"\u003eDexter Story, Kamasi Washington,\u003cbr data-mce-fragment=\"1\"\u003eMiguel Atwood-Fergsuon,\u003cbr data-mce-fragment=\"1\"\u003eand Mark De Clive-Lowe)\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e”\u003c\/span\u003e \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist : \u003cmeta charset=\"utf-8\"\u003e \u003cem data-mce-fragment=\"1\"\u003eCarlos Niño \u0026amp; Friends\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLabel : Leaving Records\u003c\/span\u003e\u003c\/p\u003e"}

This is a record released by the post-new age duo Green-House from LA, USA, on the long-established LA label Stones Throw in 2021. Contains 6 gentle post-new age ambient songs. *We will send you the digital sound source free of charge, so please feel free to contact us. Click here to see more Leaving Records/Stones Throw releases available at...

¥3,680

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Quickview {"id":8414479188218,"title":"Green-House \/\/ A Host for All Kinds of Life LP \/ TAPE","handle":"green-house-a-host-for-all-kinds-of-life","description":"\u003cp\u003eアメリカ・LAのアンビエントデュオGreen-Houseが、2023年10月にLAのオールジャンルレーベルLeaving Recordsからリリースしたアルバムです。\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e穏やかなポストニューエイジ・シンセアンビエント10曲を収録。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源をご希望の場合はお気軽にご連絡をお願いいたします \u003c\/p\u003e\n\u003cp\u003e以下、レーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"人為的な気候変動によるカオスが蔓延する時代において、「ソラスタルジア」（環境の変化／劣化に対する反応として個人が経験する憧れや苦悩）は、便利で半流行的な概念として登場した。しかし、私たちの多くにとって、この概念／前提の核心には問題、罠、言いようのない空虚感が存在する。特に、自然から疎遠になり、それでも問題の深刻さと複雑さを理解している終生都市生活者にとっては。どのように嘆くのだろうか？オリーヴ・アルディゾーニが立ち上げ、現在は長年の協力者であり親友でもあるマイケル・フラナガンと正式にデュオ・プロジェクトとして活動しているGreen-Houseは、おそらく間接的に、つまり探求的で非独断的なやり方で、この理解のギャップに取り組もうとしている。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e2020年にリリースされたGreen-HouseデビューEP『Six Songs for Invisible Gardens』は、Covid-19の「ロックダウン」の深淵と時を同じくして、特に非田舎で蔓延する人間と植物の心労に応えるものだった。カセット・リリースのパッケージには、リスナーが撒けるように野草の種が入っていたことで有名だ。このジェスチャーは、アルディゾーニの真摯で真剣な信念の証である。Six Songsをカルト的なエコ・アンビエント・ヒットとして定着させた方式をさらに洗練させた『Music for Living Space』は、2021年にGreen-House初のフルレングスLPとしてリリースされた。2023年10月13日にLeaving RecordsからリリースされたLP『A Host For All Kinds of Life』は、シリーズ3作目の作品であり、そのタイトルはすべて \"for \"を中心に展開されている。\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eこのLPのタイトルと、フラナガンがデザインした万華鏡のようなフラクタルなジャケット・アートを考えればわかるだろう。一見ソフトに見える曲が、実はエッジの効いたものだとしたら？楽で瞑想的な喜びが、私たちの考え方を根本的に変えてしまうとしたら？世俗的な主体としての私たちの役割そのものを？リン・マーグリスの作品と、生物学的相互主義（両方の種が利益を得る種同士の結びつき）の進化的役割に関する我々の急成長中の理解を基にした『A Host For All Kinds of Life』は、深く根付いた、政治的根拠のある歌曲組曲である。レコードの9曲目、最後から2番目のトラック「Everything is Okay」（ちなみにこの曲は、アルディゾーニの母親がアルディゾーニに残した優しいメッセージという、このリリース唯一の人間の声で終わっている）の金色の、60年代を彷彿とさせるメロディックなアラベスクを見てほしい。\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGreen-Houseの存在そのものが、反逆の行為として喜びを選ぶだけでなく、身近な環境にあるどんな植物の生命にもその喜びを見出すという意識的な決断に行き着くのだ。この意味で、Green-Houseのすべてのリリース（特に『A Host for All Kinds of Life』）は、カジュアルなリスナーや初めて聴くリスナーには理解できない過激さを体現している。病める世界で喜びを選択し、模範とし、表現するには勇気が必要だ。『A Host For all Kinds of Life』は、聴く人に、ゆっくりとした時間を持ち、自分の周りにある人間以上の世界に耳を傾け、これから起こる不確実性を踏まえて勇気と喜びを集めるよう促す。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2416132444\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=3382\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eレーベルその他作品は\u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/leaving\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/leaving\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \/\/\/ Click \u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/leaving\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/leaving\"\u003ehere\u003c\/a\u003e\u003cspan\u003e to see more Leaving Records\/Stones Throw releases available at Tobira. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e------------------------\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAvailable as 12\" black vinyl or cassette. Ask us for digital files.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1.　\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCoquina 04:47\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2.　\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eLichen Maps 03:20\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3.　\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eDesire Path 04:03\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4.　\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCastle Song 02:53\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5.　\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eFar More Other 03:14\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6.　\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eLuna Clipper 03:41\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e7.　\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eFerndell Shade 03:53\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e8.　\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eA Host for All Kinds of Life 03:59\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e9.　\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eEverything is Okay 04:40\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e10. \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMany Years Later 02:45\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLeaving Records:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eIn an era of rampant, man-made climate chaos, “solastalgia” (the longing and distress experienced by individuals as a response to environmental change\/degradation) has emerged as a useful, semi-viral concept — a catch-all term for the pervasive sense that the world as we know it is far from well, and only growing less so. But, for many of us, a problem, a trap, an ineffable hollowness, exists at the very crux of this concept\/premise: how can we mourn (or even sense the loss of) that which we have never known? Especially for lifelong urbanites estranged from nature, who nevertheless grasp the severity and complexity of the problem—how might they remember? How might they mourn? Perhaps indirectly—that is to say, in an exploratory and non-dogmatic fashion—Green-House, a project birthed by Olive Ardizoni and now officially a duo project featuring long-time collaborator and confidant, Michael Flanagan, seeks to address this gap in understanding.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSix Songs for Invisible Gardens, the debut Green-House EP whose 2020 release coincided with the depths of Covid-19 “lockdown,” responded to the rampant heartsickness of human and plant life, especially in non-rural areas. The packaging of the cassette release famously included wildflower seeds for the listener to scatter\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e. This gesture (at once simple and daring, especially when one considers the logistical element) exists as testament to the sincerity and seriousness of Ardizoni’s convictions. Music for Living Spaces, the first full-length Green-House LP, followed in 2021— a refinement of the formula that enshrined Six Songs as a cult, eco-ambient hit. Out October 13, 2023 on Leaving Records, they have returned with the LP A Host For All Kinds of Life, a third entry in a series of releases whose titles have incidentally all revolved around the “for” construction: an unofficial canon of offerings, or maybe rather instructions as to how the music contained therein might, could, and should operate in\/on the listener’s life and “living space(s).”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDecidedly the most expansive Green-House release — one need only consider the LP’s title and the kaleidoscopic, fractal cover art designed by Flanagan—A Host For All Kinds of Life troubles the very notion of “ambient music,” a category with whom Green-House has always existed in some degree of tension. What if a song’s seeming softness constitutes its biting edge? What if easeful, contemplative pleasure can radically alter our mindset? Our very role as worldly subjects? Drawing on the works of Lynn Margulis and our burgeoning understanding of the evolutionary role of biological mutualism (associations between species in which both species benefit), A Host For All Kinds of Life is a deeply entrenched and politically grounded song suite. And there are indeed discrete songs here, with defined structure, momentum, and sway; see the gilded, sixties-evoking melodic arabesque of the record’s ninth and penultimate track, “Everything is Okay” (which incidentally ends with the release’s only human voice—a tender message left for Ardizoni by their mother).\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn conversation, Ardizoni speaks often of the centrality of joy—that Green-House’s very existence can be traced to a conscious decision they made to not only choose joy as an act of rebellion, but to find that joy in whatever plant life they could access in their immediate environment. In this sense, all of Green-House’s releases (and A Host for All Kinds of Life especially) embody a radicality that may elude the casual or first-time listener. To choose, model, and express joy in an ailing world requires courage, a courage that must be jealously guarded and constantly replenished. A Host For all Kinds of Life encourages the listener to slow down, take stock, tune in to the more-than-human world around them, and gather their courage and joy in light of the uncertainty to come.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cem\u003e\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Green-House\u003c\/p\u003e\n\u003cp\u003eLabel : Leaving Records\u003c\/p\u003e\n\u003cp\u003eCat. Number : \u003cspan class=\"product-meta__sku\"\u003e\u003cspan class=\"product-meta__sku-number\"\u003eLR248LP\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","published_at":"2024-05-04T08:40:09+09:00","created_at":"2024-05-04T08:39:31+09:00","vendor":"Tobira Records","type":"","tags":["ambient","leaving records","lp","new","post 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Recordsからリリースしたアルバムです。\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e穏やかなポストニューエイジ・シンセアンビエント10曲を収録。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源をご希望の場合はお気軽にご連絡をお願いいたします \u003c\/p\u003e\n\u003cp\u003e以下、レーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"人為的な気候変動によるカオスが蔓延する時代において、「ソラスタルジア」（環境の変化／劣化に対する反応として個人が経験する憧れや苦悩）は、便利で半流行的な概念として登場した。しかし、私たちの多くにとって、この概念／前提の核心には問題、罠、言いようのない空虚感が存在する。特に、自然から疎遠になり、それでも問題の深刻さと複雑さを理解している終生都市生活者にとっては。どのように嘆くのだろうか？オリーヴ・アルディゾーニが立ち上げ、現在は長年の協力者であり親友でもあるマイケル・フラナガンと正式にデュオ・プロジェクトとして活動しているGreen-Houseは、おそらく間接的に、つまり探求的で非独断的なやり方で、この理解のギャップに取り組もうとしている。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e2020年にリリースされたGreen-HouseデビューEP『Six Songs for Invisible Gardens』は、Covid-19の「ロックダウン」の深淵と時を同じくして、特に非田舎で蔓延する人間と植物の心労に応えるものだった。カセット・リリースのパッケージには、リスナーが撒けるように野草の種が入っていたことで有名だ。このジェスチャーは、アルディゾーニの真摯で真剣な信念の証である。Six Songsをカルト的なエコ・アンビエント・ヒットとして定着させた方式をさらに洗練させた『Music for Living Space』は、2021年にGreen-House初のフルレングスLPとしてリリースされた。2023年10月13日にLeaving RecordsからリリースされたLP『A Host For All Kinds of Life』は、シリーズ3作目の作品であり、そのタイトルはすべて \"for \"を中心に展開されている。\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eこのLPのタイトルと、フラナガンがデザインした万華鏡のようなフラクタルなジャケット・アートを考えればわかるだろう。一見ソフトに見える曲が、実はエッジの効いたものだとしたら？楽で瞑想的な喜びが、私たちの考え方を根本的に変えてしまうとしたら？世俗的な主体としての私たちの役割そのものを？リン・マーグリスの作品と、生物学的相互主義（両方の種が利益を得る種同士の結びつき）の進化的役割に関する我々の急成長中の理解を基にした『A Host For All Kinds of Life』は、深く根付いた、政治的根拠のある歌曲組曲である。レコードの9曲目、最後から2番目のトラック「Everything is Okay」（ちなみにこの曲は、アルディゾーニの母親がアルディゾーニに残した優しいメッセージという、このリリース唯一の人間の声で終わっている）の金色の、60年代を彷彿とさせるメロディックなアラベスクを見てほしい。\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGreen-Houseの存在そのものが、反逆の行為として喜びを選ぶだけでなく、身近な環境にあるどんな植物の生命にもその喜びを見出すという意識的な決断に行き着くのだ。この意味で、Green-Houseのすべてのリリース（特に『A Host for All Kinds of Life』）は、カジュアルなリスナーや初めて聴くリスナーには理解できない過激さを体現している。病める世界で喜びを選択し、模範とし、表現するには勇気が必要だ。『A Host For all Kinds of Life』は、聴く人に、ゆっくりとした時間を持ち、自分の周りにある人間以上の世界に耳を傾け、これから起こる不確実性を踏まえて勇気と喜びを集めるよう促す。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2416132444\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=3382\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eレーベルその他作品は\u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/leaving\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/leaving\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \/\/\/ Click \u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/leaving\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/leaving\"\u003ehere\u003c\/a\u003e\u003cspan\u003e to see more Leaving Records\/Stones Throw releases available at Tobira. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e------------------------\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAvailable as 12\" black vinyl or cassette. Ask us for digital files.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1.　\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCoquina 04:47\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2.　\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eLichen Maps 03:20\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3.　\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eDesire Path 04:03\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4.　\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCastle Song 02:53\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5.　\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eFar More Other 03:14\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6.　\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eLuna Clipper 03:41\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e7.　\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eFerndell Shade 03:53\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e8.　\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eA Host for All Kinds of Life 03:59\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e9.　\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eEverything is Okay 04:40\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e10. \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMany Years Later 02:45\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLeaving Records:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eIn an era of rampant, man-made climate chaos, “solastalgia” (the longing and distress experienced by individuals as a response to environmental change\/degradation) has emerged as a useful, semi-viral concept — a catch-all term for the pervasive sense that the world as we know it is far from well, and only growing less so. But, for many of us, a problem, a trap, an ineffable hollowness, exists at the very crux of this concept\/premise: how can we mourn (or even sense the loss of) that which we have never known? Especially for lifelong urbanites estranged from nature, who nevertheless grasp the severity and complexity of the problem—how might they remember? How might they mourn? Perhaps indirectly—that is to say, in an exploratory and non-dogmatic fashion—Green-House, a project birthed by Olive Ardizoni and now officially a duo project featuring long-time collaborator and confidant, Michael Flanagan, seeks to address this gap in understanding.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSix Songs for Invisible Gardens, the debut Green-House EP whose 2020 release coincided with the depths of Covid-19 “lockdown,” responded to the rampant heartsickness of human and plant life, especially in non-rural areas. The packaging of the cassette release famously included wildflower seeds for the listener to scatter\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e. This gesture (at once simple and daring, especially when one considers the logistical element) exists as testament to the sincerity and seriousness of Ardizoni’s convictions. Music for Living Spaces, the first full-length Green-House LP, followed in 2021— a refinement of the formula that enshrined Six Songs as a cult, eco-ambient hit. Out October 13, 2023 on Leaving Records, they have returned with the LP A Host For All Kinds of Life, a third entry in a series of releases whose titles have incidentally all revolved around the “for” construction: an unofficial canon of offerings, or maybe rather instructions as to how the music contained therein might, could, and should operate in\/on the listener’s life and “living space(s).”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDecidedly the most expansive Green-House release — one need only consider the LP’s title and the kaleidoscopic, fractal cover art designed by Flanagan—A Host For All Kinds of Life troubles the very notion of “ambient music,” a category with whom Green-House has always existed in some degree of tension. What if a song’s seeming softness constitutes its biting edge? What if easeful, contemplative pleasure can radically alter our mindset? Our very role as worldly subjects? Drawing on the works of Lynn Margulis and our burgeoning understanding of the evolutionary role of biological mutualism (associations between species in which both species benefit), A Host For All Kinds of Life is a deeply entrenched and politically grounded song suite. And there are indeed discrete songs here, with defined structure, momentum, and sway; see the gilded, sixties-evoking melodic arabesque of the record’s ninth and penultimate track, “Everything is Okay” (which incidentally ends with the release’s only human voice—a tender message left for Ardizoni by their mother).\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn conversation, Ardizoni speaks often of the centrality of joy—that Green-House’s very existence can be traced to a conscious decision they made to not only choose joy as an act of rebellion, but to find that joy in whatever plant life they could access in their immediate environment. In this sense, all of Green-House’s releases (and A Host for All Kinds of Life especially) embody a radicality that may elude the casual or first-time listener. To choose, model, and express joy in an ailing world requires courage, a courage that must be jealously guarded and constantly replenished. A Host For all Kinds of Life encourages the listener to slow down, take stock, tune in to the more-than-human world around them, and gather their courage and joy in light of the uncertainty to come.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cem\u003e\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Green-House\u003c\/p\u003e\n\u003cp\u003eLabel : Leaving Records\u003c\/p\u003e\n\u003cp\u003eCat. Number : \u003cspan class=\"product-meta__sku\"\u003e\u003cspan class=\"product-meta__sku-number\"\u003eLR248LP\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e"}