AHRKH // Bliss Waves (From The Heart Realm) LP

AHRKH // Bliss Waves (From The Heart Realm) LP

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This record was released by British post-new age writer AHRKH in June 2021 on the French experimental label ZAMZAM REC in a limited edition of 6 copies.

Includes 3 new age ambient songs of brain wave massage that relieve daily stress. DL code included.It is a red board.

Labels and other worksplease use this form. ///Click here to see more zamzamrec releases available at Tobira.

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

Edition of 300.

zamzamrec:

"∿ ∞ _-¨ Ultradimensional Transportation Music ∿ ∞ _-¨

"Forget your worries, lie back, and rest your mind. Watch the sun gently set on this world as pink-tinged clouds drift by like thoughts in your mind and feel yourself letting go .. .nowhere to go .. .nowhere to be . Nothing matters, nothing exists outside of this moment .. .right here .. .right now. "

ZamZamRec are ecstatic to announce the first vinyl release from AHRKH, the solo project of Gnod's AP Macarte: BLISS WAVES (FROM THE HEART REALM).

Recorded during the first UK lockdown in 2020, BLISS WAVES brings us an hour of undulating, swirling, vaporous and transcendent waves of sonic bliss.

Macarte may be best known for blowing out our senses with his work in the experimental noise collective GNOD, however he returns this time to ZamZamRec under his solo moniker AHRKH with a triad of delicate, transcendental sound works, more closely aligned with the ambient sonic journeys he transports us on via his monthly NTS radio show, Golden Ratio Frequencies.

Following on Macarte's 2015's ZamZam release “Tone Mantra”, and from last year's deeply meditative “Beams From” A Spiritual Panorama ”cassette (Golden Ratio Freq), BLISS WAVES (FROM THE HEART REALM) finds the Manchester-based artist and Sound Therapist delving into a more“ Nu-Age ”sound palette of mystikal aeriferous sound waves, cascading arpeggiators and bliss- out drone tones, resulting in something akin to Laraaji's ecstatic zithers being dosed in psilocybin and modulated through LSD soaked synthesisers.

Though recorded during the first UK Lockdown in 2020, the music wasn't initially intended to be a “lockdown” album. It was simply born out of a time of innocent play and deep rest, as the world outside seemingly slowed down and offered a collective moment of quiet repose.

Says Macarte:
“When the lockdown came into place, I had no real intention of making any creative music .. at all. Whilst I saw many take the opportunity to create their'lockdown magnus opus or“ pandemic tonics ”, I found myself confronted with the sudden and unexpected cancellation of a quite gruelling schedule of touring, performing and recording with different projects, and so I was quite happy and grateful for the'great pause', choosing instead to spend my time in deep relaxation, meditation, yoga, reading, and Generally just'being ;.

However, a piece of new equipment to play with was enough to spark some inspiration.

“A friend lent me a new synthesiser for a couple of weeks, and so that was enough of an impetus for me to do some sonic exploration, making sounds just for fun --something I hadn't really done in some time --and so each each evening, I'd have my equipment set up at my window and play with no pressure, no aim, and no intention. Creating new sounds whilst watching the sky and clouds change from sunset melting into twilight and fading into night in a gradual, hypnotic, and psychedelic shift of color and mood, amorphous clouds gently drifting from neon pink to a substrates of watercolour gradients ... I found myself entranced. immersing myself in these calming soundscapes, away from all the chaos and noise of the outside world whilst I'd putter around in my own little oasis of sonic bliss… ”

As a result the three selections from these sessions presented in this album aptly reflect those feelings, colors and moods in 45 minutes of aural iridescence and heavenly sound.

Opener “Bliss Waves'' gently drifts into being with undulating cloud swirls that softly intoxicate the listener whilst sub bass binaural oscillations massage the mind into blissed out ecstasy. a swirling daze recalling Oneothrix Point Never's earlier headier workouts. Closing the journey, and taking up the whole flip side, “Oceanic Boundlessness” (named after a term used in Macarte's Sound Therapy work to describe a state of consciousness that Transcends time and space) Prismatic harmonics ring out to infinity, vocal loops phase in and out of existence, whilst deep throbbing and all accuratelying sub bass sine waves keep one afloat in a state of heavenly statis that at once feels celestial and timeless ..

Released through french label ZamZamRec, physical copies are materialized on ltd translucent sunset pink 180g Vinyl cut by Mark Ernestus'Dubplates & Mastering in Berlin, and with considered mastering by LA's Leaving Records Matthew David “Mindflight” McQueen for heightened Psychoacoustic impact. BLISS WAVES ( From The Heart Realm) is ecstatic music to transcend the earthly boundaries of body and mind.

Released on the Summer Solstice for maximum energy. "

Artist: AHRKH

Label: zamzamrec

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This record was released by British post-new age writer AHRKH in June 2021 on the French experimental label ZAMZAM REC in a limited edition of 6 copies.

Includes 3 new age ambient songs of brain wave massage that relieve daily stress. DL code included.It is a red board.

Labels and other worksplease use this form. ///Click here to see more zamzamrec releases available at Tobira.

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

Edition of 300.

zamzamrec:

Artist: AHRKH

Label: zamzamrec

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Available as 12\" black vinyl or cassette in norelco case.\u003cbr\u003eBlack vinyl edition of 250 - tape edition of 150. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHalf Smile\u003c\/li\u003e\n\u003cli\u003eEuphoric Recall\u003c\/li\u003e\n\u003cli\u003eEtch\u003c\/li\u003e\n\u003cli\u003eBraid\u003c\/li\u003e\n\u003cli\u003eGlacial Fanfare\u003c\/li\u003e\n\u003cli\u003eGold Tooth\u003c\/li\u003e\n\u003cli\u003eSaunter\u003c\/li\u003e\n\u003cli\u003eWhich One is You\u003c\/li\u003e\n\u003cli\u003eSumac\u003c\/li\u003e\n\u003cli\u003eTumbler\u003c\/li\u003e\n\u003cli\u003eIn the Spirit of Fair Play\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\"\u003e Rosie Stockton\u003c\/span\u003e\u003cspan\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"Blurring the limits between speed and slowness, Meg Duffy \u003c\/em\u003e\u003cem\u003e(guitar) and Greg Uhlmann (guitar) communicate in velocities, \u003c\/em\u003e\u003cem\u003eunderwriting each other’s peaks and flurries as they ache \u003c\/em\u003e\u003cem\u003etoward a mutual horizon. These one-take improvisations, \u003c\/em\u003e\u003cem\u003erecorded in Uhlmann’s brothers’ house on a borrowed tape \u003c\/em\u003e\u003cem\u003erecorder, unfold like a game of truth or dare. Their constant \u003c\/em\u003e\u003cem\u003emotif is an unceasing return, a steady heartbeat they mutually \u003c\/em\u003e\u003cem\u003ecommit to, knowing when one wanders off, the other will either \u003c\/em\u003e\u003cem\u003efollow or call them home. Here, flushness overrides order, each \u003c\/em\u003e\u003cem\u003enote saunters by like initials etched into tree bark: a devotion \u003c\/em\u003e\u003cem\u003eboth passing and eternal.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAfter playing in Perfume Genius and Hand Habits, Duffy and \u003c\/em\u003e\u003cem\u003eUhlmann embarked on their first record together, Doubles. 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And they land like a sucker punch, snapping us back to the present, tuning our attention to what surrounds us.\u003cbr\u003e\u003cbr\u003eTrue presence in any given moment is one of the most difficult things to cultivate and sustain. When it is offered, I treasure it like a rare gift. Listening to Doubles, I sink into the generosity of Duffy and Uhlmann’s offerings. In songs like “Glacial Fanfare,” I whisper to myself: it hurts now and it’s gonna hurt more, but then it’s gonna stop hurting. In “Euphoric Recall,” I understand how even the worst storms can offer gentleness. In “Braid,” I know trust is about bodies in contact, feet hitting the ground day after day. I return to the urgent question posed in the title of the track: “Which One Is You?” The answer is a low steady bass marked by chaotic and bright fluctuations of sound. The sonic response leaves me knowing: Both. 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charset=\"utf-8\"\u003ePerfume GeniusやHand Habitsのバックバンドメンバーとして共演してきたアメリカのギタリストDuffy x Uhlmannが、2023年9月に同国シカゴのインディーレーベルOrindal Recordからリリースした共作アルバムです。\u003c\/p\u003e\n\u003cp\u003eギター2本による即興アンビエント・フォーク〜アンビエント・ジャズ11曲を収録。DLコード付属。LPは黒盤とマーブル盤がございます。\u003c\/p\u003e\n\u003cp\u003e以下、Rosie Stocktonによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cem\u003e\"Duffy x Uhlmannは、スピードと遅さの境界を曖昧にし、互いの地平線を目指しながら、互いのピークとフラリーを引き受け、速度でコミュニケーションする。これらのワンテイク即興演奏は、Uhlmannの兄弟の家で借りたテープレコーダーで録音された。彼らの絶え間ないモチーフは、絶え間なく戻ってくることであり、片方が迷い込んでも、もう片方が追いかけてくるか、あるいは家に呼び戻されることを知っている、お互いがコミットする安定した鼓動である。ここでは、秩序よりも流動性が優先され、それぞれの音は木の皮に刻まれたイニシャルのように通り過ぎていく。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eDuffy x Uhlmannは、Perfume GeniusとHand Habitsで活動した後、初の共作『Doubles』に着手した。彼らはギターを手にし、2人の音楽的な親密さが言葉なしに表現されている。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e彼らは直感を受け入れ、信頼を頼りに、音の瞑想を織り成す。DoublesのA面は、2本のギターの会話で構成されている。感情をループさせ、音を編み込み、キスをし、互いの文章を完成させる。最終トラックではダビングや編集は一切行わず、作曲の即時性により、まるで私たちが彼らと一緒に部屋にいるような感覚になる。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA面は、きらびやかな親密さを確立しているが、B面は、過去1年間のツアーで一緒に演奏したサウンドを取り入れた、音をかき集めたようなトーンになっている。自己を素材とするこのアルバムの後半は、記憶の触感を取り入れるために、サイドAの存在感を解体する。旅先や世界からのサンプルを使ったこれらの楽曲は、糊付けされた記憶のスクラップブックである。聴いていると、時間に媒介されながら世界に存在することの歯ごたえと静けさが感じられる。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eどのような瞬間においても、真のプレゼンス（存在感）を育み、維持することは最も難しいことのひとつである。それが提供されたとき、私はそれを貴重な贈り物のように大切にする。本作を聴きながら、私はDuffy x Uhlmannの寛大さに身をゆだねる。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eこれらの曲の中にある親密さは、影のように踊っている。私はこの音楽をポケットに入れ、使い古された石のように手のひらに乗せたい。彼らは甘い生々しさを与えてくれる。それは曲が終わっても余韻を残し、言葉が消え去った瞬間に体を打つ。\"\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2911860649\/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\/orindal\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003ehere\u003c\/a\u003e to see more Orindal Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. Available as 12\" black vinyl or cassette in norelco case.\u003cbr\u003eBlack vinyl edition of 250 - tape edition of 150. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHalf Smile\u003c\/li\u003e\n\u003cli\u003eEuphoric Recall\u003c\/li\u003e\n\u003cli\u003eEtch\u003c\/li\u003e\n\u003cli\u003eBraid\u003c\/li\u003e\n\u003cli\u003eGlacial Fanfare\u003c\/li\u003e\n\u003cli\u003eGold Tooth\u003c\/li\u003e\n\u003cli\u003eSaunter\u003c\/li\u003e\n\u003cli\u003eWhich One is You\u003c\/li\u003e\n\u003cli\u003eSumac\u003c\/li\u003e\n\u003cli\u003eTumbler\u003c\/li\u003e\n\u003cli\u003eIn the Spirit of Fair Play\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\"\u003e Rosie Stockton\u003c\/span\u003e\u003cspan\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"Blurring the limits between speed and slowness, Meg Duffy \u003c\/em\u003e\u003cem\u003e(guitar) and Greg Uhlmann (guitar) communicate in velocities, \u003c\/em\u003e\u003cem\u003eunderwriting each other’s peaks and flurries as they ache \u003c\/em\u003e\u003cem\u003etoward a mutual horizon. These one-take improvisations, \u003c\/em\u003e\u003cem\u003erecorded in Uhlmann’s brothers’ house on a borrowed tape \u003c\/em\u003e\u003cem\u003erecorder, unfold like a game of truth or dare. Their constant \u003c\/em\u003e\u003cem\u003emotif is an unceasing return, a steady heartbeat they mutually \u003c\/em\u003e\u003cem\u003ecommit to, knowing when one wanders off, the other will either \u003c\/em\u003e\u003cem\u003efollow or call them home. Here, flushness overrides order, each \u003c\/em\u003e\u003cem\u003enote saunters by like initials etched into tree bark: a devotion \u003c\/em\u003e\u003cem\u003eboth passing and eternal.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAfter playing in Perfume Genius and Hand Habits, Duffy and \u003c\/em\u003e\u003cem\u003eUhlmann embarked on their first record together, Doubles. A \u003c\/em\u003e\u003cem\u003etestament to the wordlessness of their musical intimacy, Duffy \u003c\/em\u003e\u003cem\u003eand Uhlmann take up the guitar in order to make an imprint of \u003c\/em\u003e\u003cem\u003ethe slowness and presence of their improvisational practice. \u003c\/em\u003e\u003cem\u003eThey weave together a sonic meditation, embracing intuition \u003c\/em\u003e\u003cem\u003eand relying on trust. Side A of Doubles consists of two guitars \u003c\/em\u003e\u003cem\u003ein conversation: looping feelings, braiding sound, blowing \u003c\/em\u003e\u003cem\u003ekisses, and finishing each other’s sentences. Less\u003cspan class=\"bcTruncateMore\"\u003e of an echo and more of nod, the songs unfold in radical, mutual witnessing. Refraining from any over dubs or edits on the final tracks, the immediacy of the compositions makes it feel like we are in the room with them.\u003cbr\u003e\u003cbr\u003eWhere Side A establishes a glistening intimacy, Side B takes on the tone of sonic scavenging, incorporating sounds from their past year of touring together. Taking the self as source material, the second half of the album dismantles the presence of Side A in order to incorporate the tactility of memory. Using samples from the road and from the world, these compositions are a scrap book of glued and chopped up sound. When I listen, I feel the crunchiness and static of being-in-the-world as it is mediated by time. Without us knowing, our devices capture sounds we may have missed the first time around. And they land like a sucker punch, snapping us back to the present, tuning our attention to what surrounds us.\u003cbr\u003e\u003cbr\u003eTrue presence in any given moment is one of the most difficult things to cultivate and sustain. When it is offered, I treasure it like a rare gift. Listening to Doubles, I sink into the generosity of Duffy and Uhlmann’s offerings. In songs like “Glacial Fanfare,” I whisper to myself: it hurts now and it’s gonna hurt more, but then it’s gonna stop hurting. In “Euphoric Recall,” I understand how even the worst storms can offer gentleness. In “Braid,” I know trust is about bodies in contact, feet hitting the ground day after day. I return to the urgent question posed in the title of the track: “Which One Is You?” The answer is a low steady bass marked by chaotic and bright fluctuations of sound. The sonic response leaves me knowing: Both. All.\u003cbr\u003e\u003cbr\u003eThe intimacy in these songs dances like shadows - providing relief even as they slip away. I want to put this music in my pocket and hold it in my palm like a worn down stone. Duffy and Uhlmann give us a sweet rawness that reverberates even once the song is over, hitting the body the very moment words fall away.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Duffy x Uhlmann\u003c\/p\u003e\n\u003cp\u003eLabel : Orindal Records\u003c\/p\u003e"}

This is a collaborative album released by American guitarists Duffy x Uhlmann, who have played together as backing band members of Perfume Genius and Hand Habits, on the Chicago indie label Orindal Record in September 2023. Contains 9 songs from ambient folk to ambient jazz improvised by two guitars. DL code included. The LP is available in black and marble versions. Below is an explanation by Rosie Stockton. "Duffy x Uhlmann communicate with speed, blurring the lines between speed and slow, taking on each other's peaks and flurries as they aim for each other's horizons. Their constant motif is a constant return, knowing that if one wanders off, the other will follow or be called home. It's a steady, committed pulse. Here, fluidity prevails over order, each note passing by like an initial carved into the bark of a tree.

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Quickview {"id":8339953484026,"title":"Gia Margaret \/\/ Mia Gargaret LP [COLOR] \/ TAPE","handle":"gia-margaret-mia-gargaret","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003eアメリカ・シカゴのインディーポップ〜フォークレーベルOrindal Recordから大量入荷しました。\u003c\/p\u003e\n\u003cp\u003e本作は、シカゴのマルチ奏者Gia Margaretが病気のため歌うことができなかった期間に制作し、2020年にリリースしたアルバムです。\u003c\/p\u003e\n\u003cp\u003eドリーミーなアンビエント・フォーク〜\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eアンビエント\u003c\/span\u003e11曲を収録。DLコード付属。\u003c\/p\u003e\n\u003cp\u003eレコードはクリアグリーン盤です。\u003c\/p\u003e\n\u003cp\u003e以下、作家本人とレーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"「病気でツアーをキャンセルした後、私は1年の半分近く歌うことができませんでした。そのため、自分の殻に閉じこもっているような気分になり、慰めを求めてシンセサイザーに頼りました。これらの作曲は、音楽制作者としてのアイデンティティを持ち続けるのに役立ちました。時にはこの音楽が、セラピーや他のどんなものよりも私の不安を和らげてくれました。」\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e歌や歌詞に焦点を奪われることなく、Mia Gargaretのインストゥルメンタル・トラックは、Gia Margaretのミュージシャン、作曲家、プロデューサーとしてのスキルに光を当てています。シンセサイザー、ピアノ、アコースティック・ギターによる控えめだが没入感のあるアレンジは、同時に痛みや癒しを与え、まるで車窓の風景のように感情の風景を作り上げます。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e「希望に満ちたサウンドを作りたかったのです。私は自分を癒すために音楽を作っていました。アパートの中を歩き回りながらシンセのループをかけ、自分自身の毎日のサウンドトラックを形成していました。」\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMia GargaretはGia Margaretの自己治癒を記録しています。アルバムのオープニングを飾るapathyには、彼女が実際に行ったボーカル・セラピーのエクササイズからの抜粋が含まれています。bodyではイギリスの哲学者アラン・ワッツの講義をサンプリングしています。(このサンプルの使用は、故講師の息子であるマーク・ワッツが、父親についてのドキュメンタリー映画で \"body \"を使用することと引き換えに、個人的に許可したものである）。他のトラックには、足音、教会の鐘の音、パチパチと燃える焚き火の音、湖の波の音など、Giaの日々のフィールドレコーディングが使われていいます。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e「人生の中で本当に不思議な時間を過ごした時の感覚を、完全に忘れてしまいたいと思いながらも捉えたかったのです。このプロセスは、自分自身について何かを理解するのに役立ちました。」\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eMia Gargaretは、Giaの歌声をフィーチャーしたアルバム唯一の曲、lessonで終わります。この短い曲は、2021年に予定されている、より伝統的なソングライティングに回帰したGia Margaretの次のアルバムに期待できることを予告しています。それまでの間、Mia Gargaretは、ゴージャスな実験作として、また音楽の癒しの力についての記憶に残る瞑想曲として聴くことができます。\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3074600684\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=979\/tracklist=false\/artwork=none\/track=217592702\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e \u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3074600684\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=979\/tracklist=false\/artwork=none\/track=2253347094\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e \u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3074600684\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=979\/tracklist=false\/artwork=none\/track=588464783\/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\/orindal\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003ehere\u003c\/a\u003e to see more Orindal Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eText by Orindal Records:\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eMia Gargaret is an ambient, (mostly) instrumental album by Chicago, IL singer, songwriter, multi-instrumentalist \u0026amp; producer Gia Margaret.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMia Gargaret was not the follow-up album that Gia intended to release after the critical success of her 2018 debut, There’s Always Glimmer. But after she suddenly found herself without use of her primary instrument, she had to rethink her methods, at least temporarily.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eGia explains:\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“After having to cancel tours because of illness, I was unable to sing for nearly half of the year. This left me feeling like a shell of myself, so I turned to my synthesizer for comfort. These compositions helped me hold onto my identity as a music maker. At times this music helped soothe my anxiety more than therapy or anything else could.”\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWithout singing or lyrics to steal the focus, the instrumental tracks on Mia Gargaret shine a light on Gia Margaret’s skills as a musician, composer \u0026amp; producer. Spare but immersive arrangements of synthesizer, piano \u0026amp; acoustic guitar simultaneously ache \u0026amp; soothe, building emotional landscapes that rise \u0026amp; recede like scenery through a train window.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“I wanted to make something that sounded hopeful, which\u003cspan class=\"bcTruncateMore\"\u003e is a little ironic because I felt essentially hopeless during the entire process. I was making music to self-soothe. I had synth loops going while I walked around my apartment, forming my own daily soundtrack.”\u003cbr\u003e\u003cbr\u003eMia Gargaret documents Gia Margaret’s self-healing. Album opener “apathy” includes an excerpt from her actual vocal therapy exercises. “body” samples a lecture from British philosopher Alan Watts, a continuous source of comfort \u0026amp; perspective for Gia in times of confusion. (Permission to use the sample was personally granted by Mark Watts, son of the late lecturer, in exchange for the use of “body” in his documentary film about his father.) Other tracks feature the sounds of footsteps, church bells, crackling fires, lake waves \u0026amp; other field recordings from Gia’s day-to-day.\u003cbr\u003e\u003cbr\u003e“I wanted to capture the feeling of a truly strange time in my life, even though I would prefer to forget it altogether. This process helped me understand something about myself, \u0026amp; hopefully it can help others, too.”\u003cbr\u003e\u003cbr\u003eMia Gargaret ends with “lesson,” the album’s only track to feature Gia’s singing voice. The short song teases at what we can expect from the next Gia Margaret album, a return to more traditional forms of songwriting, due in 2021. In the meantime, Mia Gargaret stands as a gorgeous experiment \u0026amp; a memorable meditation on the healing power of music.\u003cbr\u003e\u003cbr\u003eMia Gargaret was composed, performed \u0026amp; recorded at home by Gia Margaret during the summer \u0026amp; fall of 2019, with guest performances by Emily Cross (clarinet on “ash”), Stephen Steinbrink (vocals, organ \u0026amp; guitar on “lesson”) \u0026amp; There’s Always Glimmer collaborator Doug Saltzman (electronic drum production to on “body” \u0026amp; “lesson”).\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Gia Margaret\u003c\/p\u003e\n\u003cp\u003eLabel : Orindal Records\u003c\/p\u003e","published_at":"2024-04-18T17:43:27+09:00","created_at":"2024-04-18T17:42:42+09:00","vendor":"Tobira Records","type":"","tags":["ambient","folk \/ left-field 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style=\"color: #ff2a00;\"\u003e\u003c\/span\u003eアメリカ・シカゴのインディーポップ〜フォークレーベルOrindal Recordから大量入荷しました。\u003c\/p\u003e\n\u003cp\u003e本作は、シカゴのマルチ奏者Gia Margaretが病気のため歌うことができなかった期間に制作し、2020年にリリースしたアルバムです。\u003c\/p\u003e\n\u003cp\u003eドリーミーなアンビエント・フォーク〜\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eアンビエント\u003c\/span\u003e11曲を収録。DLコード付属。\u003c\/p\u003e\n\u003cp\u003eレコードはクリアグリーン盤です。\u003c\/p\u003e\n\u003cp\u003e以下、作家本人とレーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"「病気でツアーをキャンセルした後、私は1年の半分近く歌うことができませんでした。そのため、自分の殻に閉じこもっているような気分になり、慰めを求めてシンセサイザーに頼りました。これらの作曲は、音楽制作者としてのアイデンティティを持ち続けるのに役立ちました。時にはこの音楽が、セラピーや他のどんなものよりも私の不安を和らげてくれました。」\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e歌や歌詞に焦点を奪われることなく、Mia Gargaretのインストゥルメンタル・トラックは、Gia Margaretのミュージシャン、作曲家、プロデューサーとしてのスキルに光を当てています。シンセサイザー、ピアノ、アコースティック・ギターによる控えめだが没入感のあるアレンジは、同時に痛みや癒しを与え、まるで車窓の風景のように感情の風景を作り上げます。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e「希望に満ちたサウンドを作りたかったのです。私は自分を癒すために音楽を作っていました。アパートの中を歩き回りながらシンセのループをかけ、自分自身の毎日のサウンドトラックを形成していました。」\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMia GargaretはGia Margaretの自己治癒を記録しています。アルバムのオープニングを飾るapathyには、彼女が実際に行ったボーカル・セラピーのエクササイズからの抜粋が含まれています。bodyではイギリスの哲学者アラン・ワッツの講義をサンプリングしています。(このサンプルの使用は、故講師の息子であるマーク・ワッツが、父親についてのドキュメンタリー映画で \"body \"を使用することと引き換えに、個人的に許可したものである）。他のトラックには、足音、教会の鐘の音、パチパチと燃える焚き火の音、湖の波の音など、Giaの日々のフィールドレコーディングが使われていいます。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e「人生の中で本当に不思議な時間を過ごした時の感覚を、完全に忘れてしまいたいと思いながらも捉えたかったのです。このプロセスは、自分自身について何かを理解するのに役立ちました。」\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eMia Gargaretは、Giaの歌声をフィーチャーしたアルバム唯一の曲、lessonで終わります。この短い曲は、2021年に予定されている、より伝統的なソングライティングに回帰したGia Margaretの次のアルバムに期待できることを予告しています。それまでの間、Mia Gargaretは、ゴージャスな実験作として、また音楽の癒しの力についての記憶に残る瞑想曲として聴くことができます。\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3074600684\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=979\/tracklist=false\/artwork=none\/track=217592702\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e \u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3074600684\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=979\/tracklist=false\/artwork=none\/track=2253347094\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e \u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3074600684\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=979\/tracklist=false\/artwork=none\/track=588464783\/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\/orindal\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003ehere\u003c\/a\u003e to see more Orindal Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eText by Orindal Records:\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eMia Gargaret is an ambient, (mostly) instrumental album by Chicago, IL singer, songwriter, multi-instrumentalist \u0026amp; producer Gia Margaret.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMia Gargaret was not the follow-up album that Gia intended to release after the critical success of her 2018 debut, There’s Always Glimmer. But after she suddenly found herself without use of her primary instrument, she had to rethink her methods, at least temporarily.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eGia explains:\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“After having to cancel tours because of illness, I was unable to sing for nearly half of the year. This left me feeling like a shell of myself, so I turned to my synthesizer for comfort. These compositions helped me hold onto my identity as a music maker. At times this music helped soothe my anxiety more than therapy or anything else could.”\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWithout singing or lyrics to steal the focus, the instrumental tracks on Mia Gargaret shine a light on Gia Margaret’s skills as a musician, composer \u0026amp; producer. Spare but immersive arrangements of synthesizer, piano \u0026amp; acoustic guitar simultaneously ache \u0026amp; soothe, building emotional landscapes that rise \u0026amp; recede like scenery through a train window.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“I wanted to make something that sounded hopeful, which\u003cspan class=\"bcTruncateMore\"\u003e is a little ironic because I felt essentially hopeless during the entire process. I was making music to self-soothe. I had synth loops going while I walked around my apartment, forming my own daily soundtrack.”\u003cbr\u003e\u003cbr\u003eMia Gargaret documents Gia Margaret’s self-healing. Album opener “apathy” includes an excerpt from her actual vocal therapy exercises. “body” samples a lecture from British philosopher Alan Watts, a continuous source of comfort \u0026amp; perspective for Gia in times of confusion. (Permission to use the sample was personally granted by Mark Watts, son of the late lecturer, in exchange for the use of “body” in his documentary film about his father.) Other tracks feature the sounds of footsteps, church bells, crackling fires, lake waves \u0026amp; other field recordings from Gia’s day-to-day.\u003cbr\u003e\u003cbr\u003e“I wanted to capture the feeling of a truly strange time in my life, even though I would prefer to forget it altogether. This process helped me understand something about myself, \u0026amp; hopefully it can help others, too.”\u003cbr\u003e\u003cbr\u003eMia Gargaret ends with “lesson,” the album’s only track to feature Gia’s singing voice. The short song teases at what we can expect from the next Gia Margaret album, a return to more traditional forms of songwriting, due in 2021. In the meantime, Mia Gargaret stands as a gorgeous experiment \u0026amp; a memorable meditation on the healing power of music.\u003cbr\u003e\u003cbr\u003eMia Gargaret was composed, performed \u0026amp; recorded at home by Gia Margaret during the summer \u0026amp; fall of 2019, with guest performances by Emily Cross (clarinet on “ash”), Stephen Steinbrink (vocals, organ \u0026amp; guitar on “lesson”) \u0026amp; There’s Always Glimmer collaborator Doug Saltzman (electronic drum production to on “body” \u0026amp; “lesson”).\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Gia Margaret\u003c\/p\u003e\n\u003cp\u003eLabel : Orindal Records\u003c\/p\u003e"}