Gammelsæter & Marhaug // Higgs Boson LP
Gammelsæter & Marhaug // Higgs Boson LP
¥3,577
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This is a collaborative record by Norwegian experimental musicians Runhild Gammelsæter and Lasse Marhaug, released in 2022 on the French experimental label Ideologic Organ.
8 collage drone songs with voice, guitar, and synthIs recorded.
Labels and other worksplease use this form. ///Click here to see more Shelter Press / Recollection GRM / Ideologic Organ releases available at Tobira.
------------------------------
12" black vinyl. Edition of 700.
tracklist:
- The Stark Effect 02:52
- The Magus 04:43
- Static Case 03:56
- Ondes De Fase 04:00
- Forces 05:50
- Propeller Arc 06:46
- Hadron Collider 05:34
- These Questions 09:54
Text excerpt by Ideologic Organ:
"...Throughout the profound process of creating “Higgs Boson”, Gammelsæter and Marhaug drew inspiration from various subjects and artists. For Marhaug, it was concepts informed by the structuralist experimental cinema of Japanese directors Takashi Ito and Toshio Matsumoto, futurist worlds of French comic book artists Philippe Druillet and Jean Moebius Giraud , landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, among others.
It became a metaphysical juxtaposition involving Gammelsaeter's research and lyrical ideas based on several seemingly unrelated principles. A process of association inspired by “the Glass Bead Game” by Herman Hesse. The discovery of the Higgs Boson as a confirmation of the physical universe. The work of Ernst Schrödinger on the uncertainty principle. The four forces of physics. The Force. Helplessness under armed forces - as the war sailors in World War II. The influence of magic as expressed in tarot.
Gammelsæter experiments with a boundary involving the thresholds among various states of focus and legibility by forensic experimentation with techniques such as exclusive expression of consonants, syllabic repetition, retrograde text vocalisations and multi-lingual layering. Her vocal inspirational sources include Sidsel Endresen, Diamanda Galas, Natacha Atlas, the choral works of Rachmaninov, and the bands Carcass and Grave..."
Artist : Gammelsæter & Marhaug
Label: Ideologic Organ
CAT No.: SOMA043lp
This is a collaborative record by Norwegian experimental musicians Runhild Gammelsæter and Lasse Marhaug, released in 2022 on the French experimental label Ideologic Organ.
8 collage drone songs with voice, guitar, and synthIs recorded.
Labels and other worksplease use this form. ///Click here to see more Shelter Press / Recollection GRM / Ideologic Organ releases available at Tobira.
------------------------------
12" black vinyl. Edition of 700.
tracklist:
- The Stark Effect 02:52
- The Magus 04:43
- Static Case 03:56
- Ondes De Fase 04:00
- Forces 05:50
- Propeller Arc 06:46
- Hadron Collider 05:34
- These Questions 09:54
Text excerpt by Ideologic Organ:
"...Throughout the profound process of creating “Higgs Boson”, Gammelsæter and Marhaug drew inspiration from various subjects and artists. For Marhaug, it was concepts informed by the structuralist experimental cinema of Japanese directors Takashi Ito and Toshio Matsumoto, futurist worlds of French comic book artists Philippe Druillet and Jean Moebius Giraud , landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, among others.
It became a metaphysical juxtaposition involving Gammelsaeter's research and lyrical ideas based on several seemingly unrelated principles. A process of association inspired by “the Glass Bead Game” by Herman Hesse. The discovery of the Higgs Boson as a confirmation of the physical universe. The work of Ernst Schrödinger on the uncertainty principle. The four forces of physics. The Force. Helplessness under armed forces - as the war sailors in World War II. The influence of magic as expressed in tarot.
Gammelsæter experiments with a boundary involving the thresholds among various states of focus and legibility by forensic experimentation with techniques such as exclusive expression of consonants, syllabic repetition, retrograde text vocalisations and multi-lingual layering. Her vocal inspirational sources include Sidsel Endresen, Diamanda Galas, Natacha Atlas, the choral works of Rachmaninov, and the bands Carcass and Grave..."
Artist : Gammelsæter & Marhaug
Label: Ideologic Organ
CAT No.: SOMA043lp
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{"id":8255392448762,"title":"Attila Csihar \/\/ Void Ov Voices : Baalbek LP \/ CD","handle":"attila-csihar-void-ov-voices-baalbek-lp-cd","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSUNN O)))としても活動しているAttila Csiharが、2023年2月に\u003cmeta charset=\"utf-8\"\u003eIdeologic Organからリリースしたレコードです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eレバノンのバールベックで録音したドローン2セットを収録。16ページのブックレット付属。以下、作家本人による解説です。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e「私は2006年にVoid Ov Voicesを立ち上げ、その場の空間と時間のエネルギーを捉え、干渉しながら、その場のための儀式的な音楽を作り、ライブパフォーマンスのみを行うようになりました。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e2008年に初めてレバノンを訪れたのは、トリトンやバールベックの巨大なモノリスを訪れるという特別な理由からでした。そのとき、古代文明の工学技術の高さと、地域全体が持つ強烈な幻想的な雰囲気に深い感銘を受けたのです。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e私は長い間、古代遺跡や先史時代の遺跡、モノリスに魅了されてきました。この数十年間、私は世界中の多くの場所を訪れました。私はいつも、これらの古代遺跡の中に非常に独特な物理的エネルギーを感じ、それが私の想像力と心の目を興味深く開かせてくれました。さらに、これらの建造物はすべて、忘れ去られた高度なテクノロジーと文明の足跡なのです。さらに、これらの石の塊は、しばしば占星術の事象や神聖幾何学と一直線上に並んでいます。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eバールベックのトリトンは、ローマ時代以前の技術の純粋な証拠であり、重さ約900トン（VWゴルフ900台分に相当）の石のブロックを持ち上げて運ぶことができる技術であるため、私にとって特別な存在なのです。その輸送そのものを現代で行うことは可能であるとしても、最先端の技術をもってしても大変なことです。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eバールベックには、このような大きさの石でできた巨大な台地があり、その上にローマ人が世界最大級のローマ建築といわれるジュピター神殿を建てたのです。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eバールベックは古代には「太陽の町」と呼ばれていたそうですが、「バベルの塔」の話と関係があるのでしょうか？\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eこのような神秘的な場所には、さまざまな物語や説があります。しかし、これらの石は、歴史の中で時空を超えて、ただそこに立って待っているのです。そして、最後までそこにあるのです...。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eこれらのユニークな構造物にできるだけ近い録音をすることは、常に私の心を揺り動かすものでした。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eついにバールベックの「南の石」の頂上でレコーディングをすることができたとき、私はトランス状態のような瞑想状態に陥ったのです。音楽は、耳の感覚だけでなく、私たちの身体のすべてを通過していくので、さまざまなレベルで不思議なものです。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e年月が経つにつれ、私はバールベックについてさらに調べていきました。ハンガリーで最も重要な画家の一人、チョントヴァーリ・コシュトカ・ティヴァダー（1853-1919）も、レバノンの同じ場所で深い感動を受けました。彼の生涯を詳しく調べてみると、私と彼の性格や芸術哲学には多くの共通点があることがわかりました。彼は、深い精神性を持っていましたが、宗教的ではありませんでした。\u003cmeta charset=\"utf-8\"\u003e薬剤師で科学者だった彼が、中年になって絵を描き始めたのは、超越的な衝動に駆られたからにほかなりません。彼は薬剤師のキャリアをあきらめ、残りの人生、魂の欲求を満たすために芸術と絵画にのみ集中し、それ以外の地上的、エゴイスティックな理由ではありませんでした。展覧会を開くこともなく、自分の絵を売るつもりもありませんでした。ベジタリアンになり、社会のアウトサイダーとなりました。晩年には、政府や世界の指導者たちの背後にある隠された手に挑戦する、高度な哲学的文章も書いています。しかし残念なことに、そして典型的な例として、彼の存在が認識されたのは、死後数十年経ってからでした。彼の絵は忘れ去られ、第二次世界大戦後、トラックの荷台のキャンバスとして売られそうになっていました。しかしオークションの最後の最後に、誰かがその芸術的価値を認め、買い上げ、保存してくれたのです。今では、ハンガリーで最も重要で影響力のある画家の一人と言われています。ハンガリーの暗い歴史の中で、どれだけの貴重な美術品が消えていったのだろうかと思うことがあります。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eとにかく、ツォントヴァーリ・コシュトカ・ティヴァダールとバールベックは私に深いインスピレーションを与えてくれました。2012年、私は再びレバノンのバールベックにある同じ遺跡に行き、儀式的な記録を作り、そのエネルギーを自分のために、永遠に留めておこうと決心したのです。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eアルバムのジャケットアートワークに選んだのは、チョントヴァーリが描いた「Sacrificial Stone」という珍しい絵画です。彼はこのシュールな絵をバールベックでも描いているのです。彼が「南の石」にインスピレーションを受け、それが彼のビジョンの中で「サクリファイス・ストーン」になったというのは、私にとって借りのない話です。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eVoid Ov Voicesでは、音のブロックを繰り返し使って、音の壁を作り出しています。この美しい絵の上で、チョントヴァーリ以上に自分の音楽をイメージすることはできませんでした。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eこの個人的な録音をリリースすべきかどうか迷いましたが、友人のスティーブン・オマリーの長年にわたる強いインスピレーションに感謝します。ついに実現することができました。\"\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=940589157\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eAvailable on 12\" black vinyl or CD. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eNight of 29th of March (on my 41st birthday) in Hotel Jupiter in Baalbek while looking at the Thrilitons of the Jupiter Temple. 27:44\u003c\/li\u003e\n\u003cli\u003eDaytime of 30th of March, on the top of the biggest ever human-made Monolith called Stone Of The South. 20:28\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eArtist statement by \u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003eAttila Csihar. Budapest, September 2021\u003c\/span\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003e\"I started Void Ov Voices in 2006 to create ritualistic music for the moment, to play only live performances while capturing and interfering with the energy of the space and the time of the location.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe first time I travelled to Lebanon was in 2008 for one particular reason: to visit the Trilitons and the giant Monoliths of Baalbek. I was deeply impressed by the level of ancient civilisations engineering technology and the intense magical atmosphere of the whole area.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eI have been fascinated by ancient ruins, prehistorical sites and monoliths for a long time. In the last decades, I visited many of these places around the world. I always felt this very particular fine physical energy among those ancient ruins, which interestingly opened my imagination and mind’s eye. Besides that, all these structures are footprints of a forgotten high advanced technology and civilisations. Moreover, these masses of stone often lie in alignment with astrological events and sacred geometry.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eThe Trilitons of Baalbek are extraordinarily special to me as they are pure evidence of technology from before the Roman period, a technology which could lift and transport blocks of stones, each weighing around approximately 900 tons (which equals\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e approximately the weight of 900 VW Golfs, but in one piece!). To do that transportation itself today would be a huge challenge even with our cutting edge technology, if it’s possible at all.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThere is a massive plateau in Baalbek made of these sized stones, on top of which the Romans built their famous Jupiter Temple, considered to be one of the largest Roman structures in the world.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eBaalbek used to be called The City Of The Sun in ancient times, and I might have one theoretical question: could it be connected to the story of The Tower Of Babel?\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eThere are many stories and theories around these mystical places. But, those stones have been just standing and waiting there in time and space throughout history. And they will be there till the end…\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eTo make recordings as close as possible to these unique structures always triggered my mind.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eWhen finally I could make a recording outdoor on the top of the “Stone of the South” in Baalbek, I fell into a trance kind of meditative state of mind, in that welcoming an enormous ancient energy which is present and is also captured on these recordings. Music is magical itself on many levels as it goes through all of our bodies, not only through the sensations of our ears.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAs years passed, I researched Baalbek more. One of Hungary’s most significant painters, Csontváry Kosztka Tivadar (1853-1919), was also deeply touched by the same spot in Lebanon. When I dug more into Csontváry’s life story, I found many similarities between his and my personality and artistic philosophy. He was profoundly spiritual yet not religious. He was an apothecary and scientist who started to paint in his middle age only because of a transcendental impulse he received. He gave up his pharmacist career and, for the rest of his life, focused only on art and painting to fulfil his soul’s desires and not for any other earthly or egoistic reason. He never had an exhibition, and he never intended to sell any of his paintings. He became a vegetarian and an outsider of society. Towards the end of his life, he even wrote some advanced philosophical writings challenging the hidden hands behind the governments and world leaders. Unfortunately and typically, he was only recognised decades after his death. His paintings were forgotten and almost sold as canvas to cover trucks after WWII. Then, at the last minute of an auction, somebody recognised their artistic value, bought up and saved these priceless paintings, which was like a miracle itself. Csontváry is now considered to be one of the most critical and influential Hungarian painters of all time! Sometimes I wonder how much invaluable art might have disappeared through the dark times of our history.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eAnyway, Csontváry Kosztka Tivadar and Baalbek gave me such deep inspiration that in 2012 I decided to travel back to Lebanon to the same ruins to Baalbek to create a ritualistic recording and try to capture that energy for myself and for forever.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eI chose this rare painting from Csontváry called “Sacrificial Stone” for the album’s cover artwork. He painted this surrealistic painting in Baalbek too. No debt to me that he was inspired by “The Stone Of The South”, which became the “Sacrificial Stone” in his vision.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eWhen I first saw that painting, I could not believe my eyes: in Void Ov Voices, I use blocks of sounds repeatedly to create a wall of sound. I could not visualise my music better than Csontváry on this beautiful painting.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eI was not sure if I should ever release this personal recording but thank my friend Stephen O’Malley’s strong inspiration through the years. Finally, it can happen.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Attila Csihar\u003c\/p\u003e\n\u003cp\u003eLabel : Ideologic Organ\u003c\/p\u003e\n\u003cp\u003eCAT No.: \u003cspan data-mce-fragment=\"1\"\u003eSOMA047\u003c\/span\u003e\u003c\/p\u003e","published_at":"2024-04-03T08:36:34+09:00","created_at":"2024-04-01T10:00:43+09:00","vendor":"Tobira Records","type":"","tags":["cd","drone","lp","new","shelter press"],"price":228000,"price_min":228000,"price_max":478000,"available":true,"price_varies":true,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":45484061720826,"title":"LP","option1":"LP","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":{"id":40828484354298,"product_id":8255392448762,"position":2,"created_at":"2024-04-01T10:00:48+09:00","updated_at":"2024-04-01T10:00:48+09:00","alt":null,"width":1200,"height":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/baa2.jpg?v=1711933248","variant_ids":[45484061720826]},"available":true,"name":"Attila Csihar \/\/ Void Ov Voices : Baalbek LP \/ CD - 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CD","public_title":"CD","options":["CD"],"price":228000,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":"","featured_media":{"alt":null,"id":33520263954682,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/baa1.jpg?v=1711933248"}},"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/baa1.jpg?v=1711933248","\/\/tobirarecords.com\/cdn\/shop\/files\/baa2.jpg?v=1711933248"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/baa1.jpg?v=1711933248","options":["Format"],"media":[{"alt":null,"id":33520263954682,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/baa1.jpg?v=1711933248"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/baa1.jpg?v=1711933248","width":700},{"alt":null,"id":33520263987450,"position":2,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/baa2.jpg?v=1711933248"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/baa2.jpg?v=1711933248","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSUNN O)))としても活動しているAttila Csiharが、2023年2月に\u003cmeta charset=\"utf-8\"\u003eIdeologic Organからリリースしたレコードです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eレバノンのバールベックで録音したドローン2セットを収録。16ページのブックレット付属。以下、作家本人による解説です。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e「私は2006年にVoid Ov Voicesを立ち上げ、その場の空間と時間のエネルギーを捉え、干渉しながら、その場のための儀式的な音楽を作り、ライブパフォーマンスのみを行うようになりました。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e2008年に初めてレバノンを訪れたのは、トリトンやバールベックの巨大なモノリスを訪れるという特別な理由からでした。そのとき、古代文明の工学技術の高さと、地域全体が持つ強烈な幻想的な雰囲気に深い感銘を受けたのです。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e私は長い間、古代遺跡や先史時代の遺跡、モノリスに魅了されてきました。この数十年間、私は世界中の多くの場所を訪れました。私はいつも、これらの古代遺跡の中に非常に独特な物理的エネルギーを感じ、それが私の想像力と心の目を興味深く開かせてくれました。さらに、これらの建造物はすべて、忘れ去られた高度なテクノロジーと文明の足跡なのです。さらに、これらの石の塊は、しばしば占星術の事象や神聖幾何学と一直線上に並んでいます。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eバールベックのトリトンは、ローマ時代以前の技術の純粋な証拠であり、重さ約900トン（VWゴルフ900台分に相当）の石のブロックを持ち上げて運ぶことができる技術であるため、私にとって特別な存在なのです。その輸送そのものを現代で行うことは可能であるとしても、最先端の技術をもってしても大変なことです。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eバールベックには、このような大きさの石でできた巨大な台地があり、その上にローマ人が世界最大級のローマ建築といわれるジュピター神殿を建てたのです。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eバールベックは古代には「太陽の町」と呼ばれていたそうですが、「バベルの塔」の話と関係があるのでしょうか？\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eこのような神秘的な場所には、さまざまな物語や説があります。しかし、これらの石は、歴史の中で時空を超えて、ただそこに立って待っているのです。そして、最後までそこにあるのです...。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eこれらのユニークな構造物にできるだけ近い録音をすることは、常に私の心を揺り動かすものでした。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eついにバールベックの「南の石」の頂上でレコーディングをすることができたとき、私はトランス状態のような瞑想状態に陥ったのです。音楽は、耳の感覚だけでなく、私たちの身体のすべてを通過していくので、さまざまなレベルで不思議なものです。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e年月が経つにつれ、私はバールベックについてさらに調べていきました。ハンガリーで最も重要な画家の一人、チョントヴァーリ・コシュトカ・ティヴァダー（1853-1919）も、レバノンの同じ場所で深い感動を受けました。彼の生涯を詳しく調べてみると、私と彼の性格や芸術哲学には多くの共通点があることがわかりました。彼は、深い精神性を持っていましたが、宗教的ではありませんでした。\u003cmeta charset=\"utf-8\"\u003e薬剤師で科学者だった彼が、中年になって絵を描き始めたのは、超越的な衝動に駆られたからにほかなりません。彼は薬剤師のキャリアをあきらめ、残りの人生、魂の欲求を満たすために芸術と絵画にのみ集中し、それ以外の地上的、エゴイスティックな理由ではありませんでした。展覧会を開くこともなく、自分の絵を売るつもりもありませんでした。ベジタリアンになり、社会のアウトサイダーとなりました。晩年には、政府や世界の指導者たちの背後にある隠された手に挑戦する、高度な哲学的文章も書いています。しかし残念なことに、そして典型的な例として、彼の存在が認識されたのは、死後数十年経ってからでした。彼の絵は忘れ去られ、第二次世界大戦後、トラックの荷台のキャンバスとして売られそうになっていました。しかしオークションの最後の最後に、誰かがその芸術的価値を認め、買い上げ、保存してくれたのです。今では、ハンガリーで最も重要で影響力のある画家の一人と言われています。ハンガリーの暗い歴史の中で、どれだけの貴重な美術品が消えていったのだろうかと思うことがあります。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eとにかく、ツォントヴァーリ・コシュトカ・ティヴァダールとバールベックは私に深いインスピレーションを与えてくれました。2012年、私は再びレバノンのバールベックにある同じ遺跡に行き、儀式的な記録を作り、そのエネルギーを自分のために、永遠に留めておこうと決心したのです。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eアルバムのジャケットアートワークに選んだのは、チョントヴァーリが描いた「Sacrificial Stone」という珍しい絵画です。彼はこのシュールな絵をバールベックでも描いているのです。彼が「南の石」にインスピレーションを受け、それが彼のビジョンの中で「サクリファイス・ストーン」になったというのは、私にとって借りのない話です。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eVoid Ov Voicesでは、音のブロックを繰り返し使って、音の壁を作り出しています。この美しい絵の上で、チョントヴァーリ以上に自分の音楽をイメージすることはできませんでした。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eこの個人的な録音をリリースすべきかどうか迷いましたが、友人のスティーブン・オマリーの長年にわたる強いインスピレーションに感謝します。ついに実現することができました。\"\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=940589157\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eAvailable on 12\" black vinyl or CD. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eNight of 29th of March (on my 41st birthday) in Hotel Jupiter in Baalbek while looking at the Thrilitons of the Jupiter Temple. 27:44\u003c\/li\u003e\n\u003cli\u003eDaytime of 30th of March, on the top of the biggest ever human-made Monolith called Stone Of The South. 20:28\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eArtist statement by \u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003eAttila Csihar. Budapest, September 2021\u003c\/span\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003e\"I started Void Ov Voices in 2006 to create ritualistic music for the moment, to play only live performances while capturing and interfering with the energy of the space and the time of the location.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe first time I travelled to Lebanon was in 2008 for one particular reason: to visit the Trilitons and the giant Monoliths of Baalbek. I was deeply impressed by the level of ancient civilisations engineering technology and the intense magical atmosphere of the whole area.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eI have been fascinated by ancient ruins, prehistorical sites and monoliths for a long time. In the last decades, I visited many of these places around the world. I always felt this very particular fine physical energy among those ancient ruins, which interestingly opened my imagination and mind’s eye. Besides that, all these structures are footprints of a forgotten high advanced technology and civilisations. Moreover, these masses of stone often lie in alignment with astrological events and sacred geometry.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eThe Trilitons of Baalbek are extraordinarily special to me as they are pure evidence of technology from before the Roman period, a technology which could lift and transport blocks of stones, each weighing around approximately 900 tons (which equals\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e approximately the weight of 900 VW Golfs, but in one piece!). To do that transportation itself today would be a huge challenge even with our cutting edge technology, if it’s possible at all.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThere is a massive plateau in Baalbek made of these sized stones, on top of which the Romans built their famous Jupiter Temple, considered to be one of the largest Roman structures in the world.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eBaalbek used to be called The City Of The Sun in ancient times, and I might have one theoretical question: could it be connected to the story of The Tower Of Babel?\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eThere are many stories and theories around these mystical places. But, those stones have been just standing and waiting there in time and space throughout history. And they will be there till the end…\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eTo make recordings as close as possible to these unique structures always triggered my mind.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eWhen finally I could make a recording outdoor on the top of the “Stone of the South” in Baalbek, I fell into a trance kind of meditative state of mind, in that welcoming an enormous ancient energy which is present and is also captured on these recordings. Music is magical itself on many levels as it goes through all of our bodies, not only through the sensations of our ears.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAs years passed, I researched Baalbek more. One of Hungary’s most significant painters, Csontváry Kosztka Tivadar (1853-1919), was also deeply touched by the same spot in Lebanon. When I dug more into Csontváry’s life story, I found many similarities between his and my personality and artistic philosophy. He was profoundly spiritual yet not religious. He was an apothecary and scientist who started to paint in his middle age only because of a transcendental impulse he received. He gave up his pharmacist career and, for the rest of his life, focused only on art and painting to fulfil his soul’s desires and not for any other earthly or egoistic reason. He never had an exhibition, and he never intended to sell any of his paintings. He became a vegetarian and an outsider of society. Towards the end of his life, he even wrote some advanced philosophical writings challenging the hidden hands behind the governments and world leaders. Unfortunately and typically, he was only recognised decades after his death. His paintings were forgotten and almost sold as canvas to cover trucks after WWII. Then, at the last minute of an auction, somebody recognised their artistic value, bought up and saved these priceless paintings, which was like a miracle itself. Csontváry is now considered to be one of the most critical and influential Hungarian painters of all time! Sometimes I wonder how much invaluable art might have disappeared through the dark times of our history.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eAnyway, Csontváry Kosztka Tivadar and Baalbek gave me such deep inspiration that in 2012 I decided to travel back to Lebanon to the same ruins to Baalbek to create a ritualistic recording and try to capture that energy for myself and for forever.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eI chose this rare painting from Csontváry called “Sacrificial Stone” for the album’s cover artwork. He painted this surrealistic painting in Baalbek too. No debt to me that he was inspired by “The Stone Of The South”, which became the “Sacrificial Stone” in his vision.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eWhen I first saw that painting, I could not believe my eyes: in Void Ov Voices, I use blocks of sounds repeatedly to create a wall of sound. I could not visualise my music better than Csontváry on this beautiful painting.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eI was not sure if I should ever release this personal recording but thank my friend Stephen O’Malley’s strong inspiration through the years. Finally, it can happen.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Attila Csihar\u003c\/p\u003e\n\u003cp\u003eLabel : Ideologic Organ\u003c\/p\u003e\n\u003cp\u003eCAT No.: \u003cspan data-mce-fragment=\"1\"\u003eSOMA047\u003c\/span\u003e\u003c\/p\u003e"}
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A record released by Ideologic Organ in February 2023 by Attila Csihar, who is also active as SUNN O))).Includes two sets of drones recorded in Baalbek, Lebanon. Includes 2 page booklet.Below is a commentary by the author himself. “I launched Void Ov Voices in 2, capturing and interfering with the space and time energies of the place, creating ritual music for the place, and only doing live performances. I visited Lebanon for the first time in 16 for the very specific reason of visiting the giant monoliths of Triton and Baalbek, where I was struck by the engineering sophistication of ancient civilizations and the intense fantasy of the whole region. I was fascinated by ancient and prehistoric sites and monoliths for a long time.In the last few decades I have visited many places around the world. I have always felt a very peculiar physical energy in these ancient ruins, which has opened my imagination and mind's eyes with great interest. Moreover, these stone masses are often aligned with astrological events and sacred geometry.Baalbek's Triton is the purest form of pre-Roman technology. It's a testimony to this, and it's special to me because it's a technology that can lift and transport a stone block weighing about 2006 tons (equivalent to 2008 VW Golfs). Even if it was possible, it would be difficult even with the most advanced technology.At Baalbek, there is a huge stone plateau of this size, on which the Romans built the world's largest stone plateau. He built the Temple of Jupiter, which is said to be a Roman architecture of the highest level.I heard that Baalbek was called "City of the Sun" in ancient times.Is it related to the story of "Tower of Babel"?There are many stories and theories about such mystical places.But these stones are just standing there waiting, transcending time and space in history.And it's there until the end...Recording as close as possible to these unique structures has always been an inspiration to me.When I finally got to record on top of the 'Southern Stone' in Baalbek, I fell into a trance-like meditative state.Music is magical on many levels as it goes through all of our bodies, not just our ears.As the years went by, I found out more about Baalbeck.One of Hungary's most important painters, Chontovali Kosztka Tivader (900-900), was also deeply moved in the same places in Lebanon.A closer look at his life reveals that I and his personalities and artistic philosophies have much in common.He was deeply spiritual, but not religious.A pharmacist and scientist, he started painting in middle age because of a transcendental impulse.He gave up his pharmacist career and for the rest of his life focused solely on art and painting to satisfy his soul's desires, and for no other earthly, egotistical reason.He never had an exhibition and never intended to sell his paintings.He became a vegetarian and a social outsider.In his later years, he also wrote highly philosophical writings that challenged the hidden hands behind governments and world leaders.Unfortunately, and typically, it wasn't until decades after his death that his existence was recognized.His paintings were forgotten and nearly sold as truck bed canvases after World War II.But at the last minute of the auction, someone recognized its artistic value, purchased it, and preserved it.He is now considered one of Hungary's most important and influential painters.I sometimes wonder how many valuable works of art have disappeared in Hungary's dark history.Anyway, Zontvaali Kosutka Tivadar and Baalbek have been a great inspiration to me. In 1853, I decided to go again to the same ruins in Baalbek, Lebanon, create a ritual record, and keep the energy for myself forever.For the album jacket artwork, I chose a rare painting called "Sacrificial Stone" by Chontovari.He also painted this surreal painting in Baalbek.To me, he was inspired by the 'Stone of the South', which in his vision became the 'Sacrifice Stone'. Void Ov Voices uses repeated blocks of sound to create a wall of sound.I couldn't imagine my music better than Chontovari in this beautiful painting.I hesitated to release this personal recording, but I am grateful to my friend Stephen O'Malley for his strong inspiration over the years.I was finally able to make it happen. " Click here for labels and other works /// Click here to see...
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{"id":8222044815610,"title":"Jessica Ekomane \/ Laurel Halo \/\/ Manifolds \/ Octavia LP","handle":"jessica-ekomane-laurel-halo-manifolds-octavia-lp","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eフランスのJessica EkomaneとアメリカのLaurel Halo実験音楽家2名が、2024年3月にフランスの実験レーベルPortraits GRMからリリースしたスプリットレコードです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eA面はコンピューターによるコラージュ・ドローン、B面は実験ネオクラシカル・アンビエント\u003cspan data-mce-fragment=\"1\"\u003eを収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eマスタリングはGiuseppe Ielashiが担当しています。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e※デジタル音源をご希望の方はお気軽にご連絡をお願いいたします\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=266146378\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eAsk us for digital files. 12\" black vinyl. Edition of 1000. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. Jessica Ekomane - Manifolds 17:28\u003cbr\u003e2. Laurel Halo - Octavia 21:18\u003c\/p\u003e\n\u003cp\u003eArtist bios by Portraits GRM:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Jessica EKOMANE « Manifolds » \u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eEntirely computer-generated, Manifolds is a work that explores the multiple possibilities of polyphonic writing, extending it to the “multiphonic” universe where sources and timbres diffract themselves in the listening space. The different voices of the composition no longer follow the traditional parallel trajectories of musical dialogue, but find themselves propelled as if into a particle accelerator, a “collider” freed from all formal rhetoric to reach a state of liberation of energies that is truly confounding. It is then that, in the multi-layered universe of sonic electrons, as if against its own will, a “chant” of overwhelming humanity is revealed. \u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eLaurel HALO « Octavia » (2022) \u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eOctavia, a piece for piano and electronics, explores the relationship between melodic motifs and textures in a singular way, intermittent moments of melody, harmony and sound materials connecting and disconnecting, to indicate a series of nets or webs, swaying in and out of one another. These sonic nets gently float, spin and merge, and the effect is one of gently floating over an abyss. The work is inspired by the “spiderweb city” of the same name in Italo Calvino's Invisible Cities: “Below there is nothing for hundreds of feet: a few\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cem\u003e clouds glide past; further down you can glimpse the chasm’s bed….Suspended over the abyss, the life of Octavia’s inhabitants is less uncertain than in other cities. They know the net will last only so long.”\u003c\/em\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Jessica Ekomane \/ Laurel Halo\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLabel : Portraits GRM (Recollection GRM)\u003c\/p\u003e","published_at":"2024-03-12T13:28:33+09:00","created_at":"2024-03-12T13:17:01+09:00","vendor":"Tobira Records","type":"","tags":["ambient","drone","lp","neo classical","new","shelter press"],"price":439800,"price_min":439800,"price_max":439800,"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":45331966918906,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Jessica Ekomane \/ Laurel Halo \/\/ Manifolds \/ Octavia LP","public_title":null,"options":["Default Title"],"price":439800,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/a3435290659_16.jpg?v=1710217148"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/a3435290659_16.jpg?v=1710217148","options":["Title"],"media":[{"alt":null,"id":33365073363194,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a3435290659_16.jpg?v=1710217148"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a3435290659_16.jpg?v=1710217148","width":700}],"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フランスのJessica EkomaneとアメリカのLaurel Halo実験音楽家2名が、2024年3月にフランスの実験レーベルPortraits GRMからリリースしたスプリットレコードです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eA面はコンピューターによるコラージュ・ドローン、B面は実験ネオクラシカル・アンビエント\u003cspan data-mce-fragment=\"1\"\u003eを収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eマスタリングはGiuseppe Ielashiが担当しています。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e※デジタル音源をご希望の方はお気軽にご連絡をお願いいたします\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=266146378\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eAsk us for digital files. 12\" black vinyl. Edition of 1000. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. Jessica Ekomane - Manifolds 17:28\u003cbr\u003e2. Laurel Halo - Octavia 21:18\u003c\/p\u003e\n\u003cp\u003eArtist bios by Portraits GRM:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Jessica EKOMANE « Manifolds » \u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eEntirely computer-generated, Manifolds is a work that explores the multiple possibilities of polyphonic writing, extending it to the “multiphonic” universe where sources and timbres diffract themselves in the listening space. The different voices of the composition no longer follow the traditional parallel trajectories of musical dialogue, but find themselves propelled as if into a particle accelerator, a “collider” freed from all formal rhetoric to reach a state of liberation of energies that is truly confounding. It is then that, in the multi-layered universe of sonic electrons, as if against its own will, a “chant” of overwhelming humanity is revealed. \u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eLaurel HALO « Octavia » (2022) \u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eOctavia, a piece for piano and electronics, explores the relationship between melodic motifs and textures in a singular way, intermittent moments of melody, harmony and sound materials connecting and disconnecting, to indicate a series of nets or webs, swaying in and out of one another. These sonic nets gently float, spin and merge, and the effect is one of gently floating over an abyss. The work is inspired by the “spiderweb city” of the same name in Italo Calvino's Invisible Cities: “Below there is nothing for hundreds of feet: a few\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cem\u003e clouds glide past; further down you can glimpse the chasm’s bed….Suspended over the abyss, the life of Octavia’s inhabitants is less uncertain than in other cities. They know the net will last only so long.”\u003c\/em\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Jessica Ekomane \/ Laurel Halo\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLabel : Portraits GRM (Recollection GRM)\u003c\/p\u003e"}
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This is a split record released by experimental musicians Jessica Ekomane from France and Laurel Halo from the United States on the French experimental label Portraits GRM in March 2. Side A contains a computer-generated collage drone, and side B contains experimental neoclassical ambient. Mastering is by Giuseppe Ielashi. *If you would like digital sound sources, please feel free to contact us. Click here for labels and other works /// Click here to see more Shelter Press...
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{"id":8214975250682,"title":"Félicia Atkinson \/\/ Image Langage 2xLP","handle":"felicia-atkinson-image-langage-2xlp","description":"\u003cp\u003eフランスの音響作家Felicia Atkinsonが、2019年に自身主宰レーベルShelter Pressからリリースした2枚組レコードです。\u003c\/p\u003e\n\u003cp\u003eピアノやギター、フィールドレコーディング、スポークンワードを用いたネオクラシカル・アンビエント9曲を収録。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1717971465\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003e2x12\" black vinyl. Edition of 900. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLa Brume 05:38\u003c\/li\u003e\n\u003cli\u003eThe Lake is Speaking 11:25\u003c\/li\u003e\n\u003cli\u003eThe House That Agnes Built 02:56\u003c\/li\u003e\n\u003cli\u003eOur Tides 10:15\u003c\/li\u003e\n\u003cli\u003eImage Langage 03:55\u003c\/li\u003e\n\u003cli\u003eLes Dunes 11:05\u003c\/li\u003e\n\u003cli\u003eBecoming a Stone 06:20\u003c\/li\u003e\n\u003cli\u003ePieces of Sylvia 07:07\u003c\/li\u003e\n\u003cli\u003eThe World is Full of Abandoned Meanings 04:34\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eText excerpt by \u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003eThea Ballard, 02.2022\u003c\/span\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"...Felicia Atkinson’s music always puts the listener somewhere in particular. There are two categories of place that are important to Image Language: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record—Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy—the landscape is what is waiting for you when you leave the house, and vice-versa. Each threatens—or is it offers, kindly, even promises?—to dissolve the other. Recognizing the normalization of home studios these days, she revisited twentieth-century women artists who variously chose, and were chosen by, their homes as a place to work: the desert retreats of Agnes Martin and Georgia O’Keefe, the life and death of Sylvia Plath. Building a record is like building a house: a structure in which one can encounter oneself, each room a song with its own function in the project of everyday life.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAt times listening to Image Langage is immediate\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e, something like visiting a house by the sea, sharing the same ground, being invited to witness Atkinson’s acts of seeing, hearing, and reading in a sonic double of the places they occurred. In an aching moment of clarity in “The Lake is Speaking,” a pair of voices emerge out of the primordial murk of piano and organ, accompanying the listener to the edge of a reflective pool that makes a mirror of the cosmos. “I open my feet to fresh dirt, and the wet grass. I hold your hand. You hold his hand. In the distance without any distance. The comets, the stars.” At other times, listening to Image Language is more like being in a theater, the composition a tangle of flickering forms and media that illuminate as best they can the darkness from which we experience it. On “Pieces of Sylvia,” a noirish orchestra drones and clatters beneath and around a montage of vocal images, stretching the listener across time, space, subjectivities. Atkinson says that Image Language is like the fake title of a fake Godard film. There is indeed something cinematic about Atkinson’s work—not cinematic in the sense that it sounds like the score for someone else’s film, but cinematic in the sense that it produces its own images and language and narratives, a kind of deliberate, dimensional world-building in sound.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eImage Langage is built from instruments recorded as if field recordings, sound-images of instruments conjured from a keyboard, instruments Atkinson treats like characters, what she calls “a fantasy of an orchestra that doesn’t exist.” And then, speaking of Godard, there are the monologues, operating as both experimental-cinematic device and a literary style of narration. Voice can be a writerly anchor or a wisp of a textural presence. Atkinson’s capacious and slippery speech plunges into and out of the compositional depths, shifting shapes, channeling the voices of any number of beings, subjectivities, or elements of her surroundings—not unlike her midi keyboard, able to speak as a vast array of instruments.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eImage Langage is an environmental record, in the vastest sense of the world. It is about getting lost in places imagined and real; it registers, too, the dizzying feeling of moving between such sites. It puts forth a concept of self that is hopelessly entangled with the rest of the world, born of both the ache of distance and the warmth of proximity.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Félicia Atkinson\u003c\/p\u003e\n\u003cp\u003eLabel : Shelter Press\u003c\/p\u003e\n\u003cp\u003eCAT No.: Shelter 140 LP\u003c\/p\u003e","published_at":"2024-03-10T13:05:28+09:00","created_at":"2024-03-08T11:13:34+09:00","vendor":"Tobira Records","type":"","tags":["ambient","lp","neo classical","new","shelter press"],"price":597800,"price_min":597800,"price_max":597800,"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":45313323335930,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Félicia Atkinson \/\/ Image Langage 2xLP","public_title":null,"options":["Default Title"],"price":597800,"weight":530,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/image1.jpg?v=1709864016","\/\/tobirarecords.com\/cdn\/shop\/files\/image2.jpg?v=1709864016","\/\/tobirarecords.com\/cdn\/shop\/files\/image3.jpg?v=1709864016"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/image1.jpg?v=1709864016","options":["Title"],"media":[{"alt":null,"id":33336036819194,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/image1.jpg?v=1709864016"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/image1.jpg?v=1709864016","width":700},{"alt":null,"id":33336036851962,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/image2.jpg?v=1709864016"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/image2.jpg?v=1709864016","width":1200},{"alt":null,"id":33336036884730,"position":3,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/image3.jpg?v=1709864016"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/image3.jpg?v=1709864016","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eフランスの音響作家Felicia Atkinsonが、2019年に自身主宰レーベルShelter Pressからリリースした2枚組レコードです。\u003c\/p\u003e\n\u003cp\u003eピアノやギター、フィールドレコーディング、スポークンワードを用いたネオクラシカル・アンビエント9曲を収録。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1717971465\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003e2x12\" black vinyl. Edition of 900. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLa Brume 05:38\u003c\/li\u003e\n\u003cli\u003eThe Lake is Speaking 11:25\u003c\/li\u003e\n\u003cli\u003eThe House That Agnes Built 02:56\u003c\/li\u003e\n\u003cli\u003eOur Tides 10:15\u003c\/li\u003e\n\u003cli\u003eImage Langage 03:55\u003c\/li\u003e\n\u003cli\u003eLes Dunes 11:05\u003c\/li\u003e\n\u003cli\u003eBecoming a Stone 06:20\u003c\/li\u003e\n\u003cli\u003ePieces of Sylvia 07:07\u003c\/li\u003e\n\u003cli\u003eThe World is Full of Abandoned Meanings 04:34\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eText excerpt by \u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003eThea Ballard, 02.2022\u003c\/span\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"...Felicia Atkinson’s music always puts the listener somewhere in particular. There are two categories of place that are important to Image Language: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record—Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy—the landscape is what is waiting for you when you leave the house, and vice-versa. Each threatens—or is it offers, kindly, even promises?—to dissolve the other. Recognizing the normalization of home studios these days, she revisited twentieth-century women artists who variously chose, and were chosen by, their homes as a place to work: the desert retreats of Agnes Martin and Georgia O’Keefe, the life and death of Sylvia Plath. Building a record is like building a house: a structure in which one can encounter oneself, each room a song with its own function in the project of everyday life.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAt times listening to Image Langage is immediate\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e, something like visiting a house by the sea, sharing the same ground, being invited to witness Atkinson’s acts of seeing, hearing, and reading in a sonic double of the places they occurred. In an aching moment of clarity in “The Lake is Speaking,” a pair of voices emerge out of the primordial murk of piano and organ, accompanying the listener to the edge of a reflective pool that makes a mirror of the cosmos. “I open my feet to fresh dirt, and the wet grass. I hold your hand. You hold his hand. In the distance without any distance. The comets, the stars.” At other times, listening to Image Language is more like being in a theater, the composition a tangle of flickering forms and media that illuminate as best they can the darkness from which we experience it. On “Pieces of Sylvia,” a noirish orchestra drones and clatters beneath and around a montage of vocal images, stretching the listener across time, space, subjectivities. Atkinson says that Image Language is like the fake title of a fake Godard film. There is indeed something cinematic about Atkinson’s work—not cinematic in the sense that it sounds like the score for someone else’s film, but cinematic in the sense that it produces its own images and language and narratives, a kind of deliberate, dimensional world-building in sound.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eImage Langage is built from instruments recorded as if field recordings, sound-images of instruments conjured from a keyboard, instruments Atkinson treats like characters, what she calls “a fantasy of an orchestra that doesn’t exist.” And then, speaking of Godard, there are the monologues, operating as both experimental-cinematic device and a literary style of narration. Voice can be a writerly anchor or a wisp of a textural presence. Atkinson’s capacious and slippery speech plunges into and out of the compositional depths, shifting shapes, channeling the voices of any number of beings, subjectivities, or elements of her surroundings—not unlike her midi keyboard, able to speak as a vast array of instruments.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eImage Langage is an environmental record, in the vastest sense of the world. It is about getting lost in places imagined and real; it registers, too, the dizzying feeling of moving between such sites. It puts forth a concept of self that is hopelessly entangled with the rest of the world, born of both the ache of distance and the warmth of proximity.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Félicia Atkinson\u003c\/p\u003e\n\u003cp\u003eLabel : Shelter Press\u003c\/p\u003e\n\u003cp\u003eCAT No.: Shelter 140 LP\u003c\/p\u003e"}
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This is a two-disc record released by French sound artist Felicia Atkinson on her own label, Shelter Press, in 2019. Contains nine neoclassical ambient songs using piano, guitar, field recordings, and spoken word. Click here to see more Shelter Press / Recollection GRM /...
¥5,978