microphones in the trees

Friday, May 22, 2015

el nuevo octeto folklórica del instituto lahmogie



"hey folks, been a long time! very pleased to announce that Tuluum Shimmering has been appointed musical and translunary advisor to that most ancient and mystical organisation, the Lahmogie Institute! The Institute, of which you have no doubt heard much, can be found here:  as well as within your hearts. on the website you will find all manner of recorded musical sounds by Tuluum Shimmering, both old and new, on a veriety of media. also to be found are Musical Instruments! Books! Tradional Music from Ohgig Eeyah! Ohgigets: Original Artyfacts from the first Ohgig Eeyahn Electric Era! Sounds of Nature! Radio Revels! Films! Pamphlet Series! Ohgig Eeyah Archive! Prof. Pufajakit! Mix of the Month! And much else besides!!! In case you might miss it, I would like to draw your attention in particular to the book People Speaking About Making Music: A Collection of Quotes Presented in Random Order, which I believe may be of much interest to many here. more info on the website. be sure to take a peek at the musical instruments too if you have any interest in unusual sound making devices. many thanks from all at the Institute!" jake webster


~ download ~

Monday, May 18, 2015

~ tuluum shimmering ~ four new releases ~



"four magical cd's by UK-based, one-man transcendental-drone band Tuluum Shimmering. the sound of Tuluum Shimmering is like a sort of loop-driven, timeless ethnic music without a region or a tradition. an array of instruments (sampling keyboard, flutes, violin, kalimba, percussion) are run, via a mixer, through a multi-FX pedal into a 30-second looper, and out to an amp." aguirre

******
 
Everything has its cycles. Since the very start of everything we know, every single movement was part of some cycle. Galaxies spinning around each other or seasonal changes - it's only question of a scale. And with every cycle something changes - slowly, steady, it may be something absolutely invisible, - but it changes. Constant renovation of cosmos goes endlessly, through myriads ways of self-knowing. We can say that we breathe for life, but maybe it's Life breathes through us. Everything flows and everything remains the same. Your body changes every second, but you find yourself in the bed every morning - looking same, living same pattern, performing same rituals, thinking same thoughts. Days are going, but you don't feel them like a cycle - we are walking a straight line from past to future. But most likely this is spiral - unfolding, unfurling - and each new coil takes us one step up. Aeons ago people celebrated such turns with rituals, and we do same thing, only in different form. But if you don't have to explain why X-mas celebration ritual is important, why we should do those celebration only on determined days? Nature celebrates every sunrise, why shouldn't we? I think that music of Tuluum Shimmering is the way of such celebration. It cycles, brings joy and refreshing view of everything you put your mind on and it gives perspective of this endlessly unfolding Mystery of Creation that we all happened to be part of.

Every ritual has its pattern, and Jake Webster's tunes are always ritualistic in their own way. This is such kind of music that don't really tells you stories, but involves in creation of your own ones. It reminds wondrous magic carpet that hypnotizes you with its patterns - they seem repetitive at first glance, but longer you look the more you see. And it appears to be a flying carpet and it takes you far-far away from usual routine that we fill our lives by some silly reasons. This music gives you a ride that reminds about sacred nature of everything existing under this sun. A journey which is needed to recall that you're always on a journey. You're sitting on the couch, but meanwhile sun makes it cycle through the galaxy and this music makes you feel that. Under the layers and layers of loops and melodies it contains this wonderful never ending raga-like drone flow that connects every living creature in the Universe. Huge web, where energy flows, changing shapes and states. Once you feel it, you'll never be alone! Perform your rituals, celebrate your life, and don't think you run in circles - every circle is only a planar projection of neverending, infinitely unfolding spiral of Life. And this music goes along with it, just feel - just follow.

Thursday, May 14, 2015

a year in your garden ~ spring mixtape



01 harvest ~ günter schlienz | new song (unreleased, 2015)
02 side a ~ plastic moonrise | plastic moonrise 2 (self-released, 2015)
03 song bird ~ eric allen | happy times (parry music library, 1979)
04 california images 1-5 ~ visible cloaks | 008 (hare akedod, 2015)
05 sleeping frog/cherry blossoms ~ tropical rock | buru (newhive, 2015)
06 river song ~ todd barton & ursula k. le guin | music&poetry of the kesh (valley, 1985)
07 jenny ~ gary atkins | nothin' else around (unknown, 1975)
08 tropical tan / er was eens / baby budha ~ orphan fairytale | tropical tan (pluim, 2014)
09 lazy oasis/rainbowed in the wind ~ pospulenn | sun people sleepwalker (housecraft, 2010)
10 untitled ~ color dream | cloud factory (digitalis, 2008)
11 side b ~ begonia / diminishing shrine recycles ~ james ferraro / coral blade grotto ~ criminals
12 doordarshan's signature tune ~ ustad ali ahmed hussain khan & ravi shankar (1974)
13 carina sayles (vhs video version) ~ palmbomen II | palmbomen II (rvng intl, 2015)
14 stockholm 2024 ~ metro riders | coming soon... (unreleased, 2015)
15 dolphin sea / hot sun / afternoon of sun hot meditation ~ wave temples | spring ritual (2015)
16 fanfare for naran ratan/jam for bwengo ~ naran ratan | trees etc. (tasty morsels, 2015)
17 spacewalkin imagination #5 ~ adrian marcator | imagination (trance, 1984)
18 polaris / crystal ~ jonathan fitoussi | live / parallelograms (pan european, 2014)
19 memories of hurstwood ~ lancashire folklore tapes | vol.IV (floklore tapes, 2015)
20 dusk side a ~ scorpio love child | triple healing mixtape (social harmony, 2014)
21 tropical sea ~ h. takahashi | soundcloud song (unreleased, 2014)
22 (something) ~ mount eerie | sauna (p.w. elverum & sun, ltd., 2015)
23 misleading familiarity ~ les halles | forum (noumenal loom, 2015)
24 jungle longing ~ pulse emitter | digital rainforest (beer on the rug 2015)
25 sol ~ oliwa | eras (illuminated paths, 2015)


26 mental journey to b.c. (medley) ~ x.y.r. | coming soon... (terminal dream, 2015)
27 running late ~ rangefinder | alta vista (unreleased, 2015)
28 garden of delays ~ quentin nicolai (young girls, 2012)
29 tv idents ~ aleksandra domanovic / untamed world outro 1970s ~ mort garson
30 le orme ~ nicola piovani | soundtrack (unknown, 1975)
31 response ~ radio people | fall on mars (centre, 2014)
32 side b ~ mahjoop | mahjoop (cave recordings, 2015)
33 untitled ~ h takahashi & loto retina | soundcloud song (unreleased, 2015)
34 april showers ~ clifford white / night rain ~ deuter (spring fantasy 1987/ecstasy 1979)
35 ...and out come the boards ~ old svrfers | ain't scared of shaka (tranquility tapes, 2015)
36 dal gioco all'esercizio ~ il ritmo nella scuola elementare /unelaul ~ h. jurisalu (1977)
37 expédition bauges/la voix du phénix/première séance/bois enterrés ~ loto retina (2015)
38 la nuit_xylophonstucke ~ carl orff & gunild keetman | flûte à bec & percussions (1971)
39 water drums 1-2 ~ baka forest people of southeast cameroon | heart of the forest (1993)
40 4 mosche di velluto grigio ~ ennio morricone / cats ~ the bugs / tsukasa suzuki
41 9dub ~ el nuevo octeto folklórica del instituto lahmogie | the flukey furlong... (2014)
42 tension against the stream (edit) ~ former selves | three wells (wounded knife, 2015)
43 song four ~ heat sureens | split w/ i am just a pupil (light tapes, 2014)
44 touch me & die ~ kara-lis coverdale | aftertouches (sacred phrases, 2015)
45 unicornis, melankolia/flute theme for princess of egypt (silmäterä) ~ lau nau (2013)
46 hypnosis ~ terlu | split with the solex-mal (bergenost, 2014)
47 song of india ~ the dream dusters featuring kenny at the hammond | organ favorites (1960)
48 tropical paradise ~ nature's course | retreat to the forest (krb music companies, 1995)
49 the magic book ~ black eagle child | playing (scissor tail, 2015)
50 spicks and specks (from walking dead 5x13) ~ bee gees | spicks & specks (csj, 1967)


recuerdo cuando vladimir nos sorprendía con 'calm in trees', un regalo muy muy especial que inauguraba 'a window open'. hoy es 'harvest' de nuestro querido Günter Schlienz, con cariño para los micrófonos. y es preciosa. de cuando la expresión 'ir por el aire' se queda infradiminuta. esa eterna sensación de estar acariciando las notas sin llegar a tocarlas... más no puedo decir, tan sólo gracias por formar parte de este compilado primaveral. "I started to work on 'harvest' last autumn, and as always this time around the year i was thrown back a bit to childhood memories. grow up on a farm to which belonged lots of vines. the harvest time for the grapes was a highlight for me as a kid, lots of people around which helped, everybody was in a good mood and very talkative. so it was definitely a highlight, but always a bit overshadowed by melancholy, because you knew that the harsh winter was just around the corner. so with this track i've tried to capture this special mixture of my feelings in those days. ok, it's not that much a story for some spring mix tape! actually i thought about to rename it because of this, but i can't. for me this track will always be connected with this concept, so i decided to keep the name."  günter schlienz 

el resto de canciones tienen, casi todas, una característica común: suenan bajitas, brumosas, siguiendo la estela de aquella insólita cosecha del inframundo que brotaba con fuerza en el 2009 (baja fidelidad, alta emotividad) y daba sus últimos coletazos en el 2011. quería centrarme sólo en ellas, pero al final, por suerte, hay tantas canciones que aparecen cada día que ha sido imposible. de vez en cuando se cuelan diálogos y fugaces momentos musicales arrancados de películas antiguas, sintonías,... buscando la inspiración en palmbomen II (ay) y en josh burke. pero sobre todo en muchas páginas, sellos y mixtapes que me hacen feliz: toys and tecniques (todos los mixtapes que ha ido subiendo a lo largo de los años están aquí, actualizados), voices of the silence, russian mind, dispokino (ojo a su sección 'tv ident of the month'), pattern & shape, a sound awareness, luzzzalig, waxwing arts, edições cn, gift tapes, the growing bin, pontone (spectral cassettes), dublab, the sum of your life, tabs out cassette podcast, continuo, y tantas y tantas. pelos de punta cuando escucho la sintonía de Ustad Ali Ahmed Hussain Khan & Pt. Ravi Shankar. gracias a Mark de unearthed in the atomic attic por regalarnos 'song of india' cuando ya casi había desfallecido... y gracias también a Kathleen por compartir las canciones de 'buru', el nuevo disco de Tropical Rock junto a Camilla Padgitt-Coles. imposible desligarlas de las imágenes: esa ranita durmiente... chin chin!

fotos: kaśka maniak & cynthia wood

Sunday, May 03, 2015

Braeyden Jae — Turnings


The first spring storm died down over city and evening sun caught it quiet, deserted and wet. Sun came out just for a moment to go below the horizon, and the town began to sink slowly into the gray twilight nap. Everything breathed, everything sparkled with some inner light... Trees slowly and gracefully escorted evening breeze with newly greened branches. Young leaves were so bright that even in the falling twillight their color seemed shining as emeralds. You wanted to absorb this color, soak in humidity of air and would stand still on the spot – like a tree, just absorbing all surrounding beauty and freshness, filling with juices in anticipation of a new day... Then time would slow down so that passing passing people and cars would seem like a blurry watercolor brush strokes against a background of other trees. Time has ceased to be something threatening - it would become a best friend. Sunrises and sunsets will be all that would remind of it. And then summer, autumn, winter... Just grow and breathe, grow and breathe. However, this is basic need to not only for trees, but for each of us as well.  

Changing his name once again, Braeyden Jae hasn't changed. The same intimate purity of nature, the giver of magical inspiration that pervades every sound – red thread that permeates all his work from the start. There was change of styles, of approaches, of the sound, but it's just a ripples, reflections on the lake surface... Deep inside, this music carries same heady beautifulness that Softest, Kaliska and WYLD WYZRDZ shared with us. Deeply and sincerely resonating beauty, which may end in experiencing infinite joy or infinite sadness. It all depends on where you direct your attention. The world is built on contrasts, and often it turns out that the sacred places of the world raise their peaks to the Sun not so far from the places where the flooding oil and forest fires destroy all living creatures... Yet, on the highest point of Mr. McKenna's music we can see all contrasts erased – so we can see from the perspective of unite, indivisible universe. Any contradictions are eliminated. Time healed all wounds. Left alone with the latest sounds melting in the air, we cease to perceive time as acute as before. It may be just for a while, but yet it is. We glimpsed into the future and saw that our world is going to be okay. We do not remember what exactly it would be, but clearly feel it. And this is all that matters.

Friday, April 24, 2015

matthew barlow / dan melchior



"Now Age is the latest offering from Asheville, NC sound artist, Matthew Barlow. The 50 minute long release is comprised of four pieces ~ each performed using original synth patches (created by Matthew) derived from a singular granular sample. Threaded throughout the four pieces are field recordings ~ including birds, ocean surf, crickets, and more ~ recorded by Barlow either at his home in the country or out during his travels.

The title Now Age could be considered as a commentary of New Age music ~ specifically it’s spiritual nature ~ yet the title’s true intent may best be interpreted as a dismissal altogether of New Age music’s mystical ideologies. However, the album by no means wishes to present a brash, atheistic agenda. Content with suspending supernatural belief for a moment, Now Age contemplates the nature of life, and marvels at the idea that we ~ conscious beings ~ are all composed of and a part of a majestic cosmos. No mysticism need be invoked should we desire to be amazed by our existence in this world. It is that we exist at all in this expansive universe and that we are connected to it ~ these are the meditations of Now Age. Above all, Now Age hopes the listener may deepen their understanding of humankind’s connection with the cosmos and our story within it." Phinery 

'we are a way for the cosmos to know itself.'  ~ Carl Sagan

"originally from the land of throwing sausages, eggs, beans and tomatoes on one plate for breakfast, though residing in the land of the freaks, Dan Melchior travelled many roads, between wreckless R&R bands or duo's with Wild Billy Childish, to solo collages on Chocolate Monk or Kye records, to the beautiful collaborative works he created with Letha Diane Rodman Melchior, Dan's partner who sadly passed away in November 2014, and who this record is dedicated to.

Knowing this makes it uneasy to write something about these incredible recordings, whether happiness is over rated or overrated, on a personal note: these beautiful recordings sink as deep as some of Robert Wyatt's recordings do, possessed by a natural melancholia, the horror of saying goodbye translated in a incredible psychedelic sea of field recordings, guitar, synth and recordings of Letha Diane Rodman Melchior's voice."

~ this album is dedicated to the memory of Letha Diane Rodman Melchior ~

artwork: dennis tyfus


sabía que después de 'sun showers' cualquier cosa de Matthew Barlow me dejaría sin aliento. pero el impacto de 'now age', todo mimo y detallismo, tan sugerente desde el título, es inmenso. decía Tim Six que es como la respiración que circula en silencio a través nuestro cuerpo. y poco más puedo decir... dos mini sinfonías que transcurren suavemente como si el tiempo no existiese. una producción cristalina como la de Alabaster Falcons y Dura, un punto de partida esencialista como 'hartful' de soy sólo un pupilo, una nueva forma de meditación, un momento de caerse redonda: a partir del minuto dieciséis de 'continuum, a personal voyage parts I & II'. un drone eterno, grabaciones de campo, el cri cri de los grillos, y a partir de ahí el éxtasis, unas teclas de piano que aceleran el ritmo poco a poco, hasta que se desvanece entre olas de mar y el sonido hueco de algo que golpea, tal vez un micrófono de contacto. la 'cara b' 'grounding, the cosmos consciousness' empieza con pajaritos y un drone tan dulce que parece un murmullo. un drone lento y flotante que induce a un plácido estado de duermevela. el trino de los pájaros se transforma en silbido, parece una flauta, una coreografía ensayada. irreal, ...grillos, los ladridos de un perro. y otra vez ese piano... un guiño a Terry Riley y sus larguísimos desarrollos, a 'structures from silence' de Steve Roach. un piano que flota y se desvanece en un drone aéreo, sordo, que acaba envolviéndolo. 'now age' riza el rizo de lo bonito, un disco puro, tan limpio y minimal como perfecto.

si 'now age' de Matthew Barlow es sol, un cielo y un mar azul, 'happiness is overrated' es lluvioso, más de calles vacías e invierno. tan iguales y diferentes que, aunque sólo fuera por la portada y el nivel de belleza que hay dentro, antes o después acaban desembocando en el mismo lugar. en realidad hace tiempo que quería hablar de Dan Melchior y Letha Rodman, en concreto de 'rodman melchior melchior', una cinta irreal editada en fabrica el año pasado. escuchad este trocito (minuto 3:52 en adelante), la tristeza infinita, y me entenderéis. la historia de Dan y Letha me recuerda inevitablemente a la de Danielle Baquet Long y Will Long de Celer. parejas unidas por la música que un día se enfrentan a la pérdida de uno de ellos. 'happiness is overrated', cual elegía, demuestra hasta qué punto el dolor puede originar algo tan hermoso. la 'cara a' clava la imagen del vacío mediante el reverb de un piano lo-fi, el rasgueo de una guitarra tan emocional como la de Charalambides, paisajes pastorales, melodías efímeras, extractos de tiempo fugaces, un viaje al abismo de la tristeza. en sus notas vulnerables hay oscuridad pero también esperanza, inevitable y necesaria tras la pena y el dolor de la ausencia. guitarras, teclados, grabaciones de campo, la voz de Letha...Dan Melchior ordena esos sonidos y los convierte en algo romántico, permanente. Letha ya no está, pero su recuerdo permanecerá gracias a cosas tan bonitas como ese momento en el que se cuela un sample de su voz, muy muy lejana, como una retransmisión perdida en el espacio, en 'ldrm'.

Thursday, April 23, 2015

natural snow buildings



Esta pareja de músicos ha conectado con energías de otros mundos, han conectado entre ellos y han conectado conmigo y con muchos otros seres humanos desde hace ya unos cuantos años, y a través de todo este tiempo han desarrollado un lenguaje que, dentro de su carácter experimental, tiene unos rasgos más o menos definidos. Natural Snow Buildings parece ser, a estas alturas, una tradición musical, con todo lo que conlleva la palabra tradición: creatividad y experimentación dentro de unos límites. No hay límites realmente, sino los que marca su lenguaje, que es un lenguaje en evolución y con límites sólo aparentes, porque no hay nada a lo que aferrarse en los mundos totalmente otros a los que Natural Snow Buildings se asoman en su experimentación. Su música puede no resultar ya tan impactante como en 2007 a quien les haya seguido estos años, y siempre está el peligro de caer en la trampa del lenguaje y decir: ah, esto ya lo he escuchado. La realidad es que, si te paras a escuchar y conectas, esta música es, como siempre, maravillosa.

Todo lo grande y bello que esta pareja de brujos saben hacer está aquí. Nanas como "Where Your Body Split" y "Eli's Song" te mecen con la íntima voz de Solange y esa familiar guitarra que tan bien se entrelaza con ella, haciéndote sentir triste y feliz a la vez en poco más de dos minutos. "You'll Become What You Fear the Most", "Rusty Knives Valley", son de esas piezas largas capaces de llevarte a mundos de ensueño en las alas de sus hipnóticas jams electroacústicas, como el drone infinito de "The Night Country" o la oscuridad de "Sister Ritual" o "Sandman Traps". Estas canciones vienen de nuevo a hacerte sentir que no sabes cómo te sientes pero por favor que no pare de sonar, pues tienen siempre algo de esa magia que nos enamoró en "Wisconsin" y en aquellas maravillas de The Dance of the Moon and the Sun. Esa energía cósmica y telúrica, esas puertas a otros mundos, ese snow folk de brujería y hojarasca y penumbra.

A veces pasa que la música de una banda llega a ti en una etapa concreta de tu vida y conectas profundamente con ellos, con su mensaje, con las energías que canalizan. Luego miras atrás y asocias aquellas experiencias que viviste, aquellos libros que leíste (en mi caso, Castaneda y NSB van de la mano), lo que sea, con esta música que tan mágicamente armonizó contigo. Las modas pasan, los booms se pierden en el olvido, pero hay algo muy especial en toda aquella ola de folk mágico, algo que no muere, y Mehdi y Solange siguen en ese mundo y con el mismo espíritu, ajenos a todo comercialismo, explorando y haciéndonos partícipes de sus oníricas exploraciones. ¡Es muy de agradecer!

Aunque en un principio este disco salió en una limitadísima edición en CD-R, ahora está disponible su versión digital a través de Vulpiano Records.

Tuesday, April 21, 2015

spires that in the sunset rise



"Beasts in the Garden is the seventh full length record by Midwest visionaries Spires That In The Sunset Rise. Since 2010, Spires have operated primarily as a duo consisting of long time members Kathleen Baird and Taralie Peterson. After releasing two lush, string based albums Ancient Patience Wills It Again Part 1 and 2 in 2012 and 2013, the Spires have returned with a definitively new direction inspired greatly by two years of exploring improvisation with members of the free jazz community in Chicago, Madison and Milwaukee..." alt.vinyl



As a long-time STITSR fan, who still come back from time to time to those rituals where they used to invoke Comus, let me start by saying that 'Beast in the Garden' is their most experimental and overwhelming recording. Even though the duo introduces a new sound and aesthetic, you will be able to recognize that Kathleen (on flute) and Taralie (on alto saxophone) are behind of this. For instance, the instrumentation remains as varied as always. Nevertheless, everything in the album turns around free-jazz in a dreamy ecstatic dimension with some avant-garde elements in it. In fact, the duo has been exploring new directions for the last two years inspired by members of the free-jazz community in Chicago, Madison and Milwaukee. Anyway, Terry Riley seems to have been a major influence. The title track and ‘Schluss’ have the typical Kathleen’s haunting vocals but in a more operatic style, with tons of loops and some fascinating flute and sax passages. There seems to be an imaginary collaboration between Lol Coxhill and Slapp Happy. A darker reincarnation of Kathleen's parallel project Tropical Rock appears in ‘Bitchin’ (For Suma)’ by means of dense soundscapes. On cuts like 'Portabittaclog’ (which is probably my favourite) and ‘White on White’, the spirit of Roscoe Mitchell and Albert Ayler set the pace while the duo passing through ambient paths. Another highlight of the album is ‘Promise Land’; here you can find a lush combination of instruments chants and loops creating a mysterious landscape. Finally, discordant textures and quirky improvisations emerge in ‘The Sun’. All in all, ‘Best in the Garden’ sticks out as a very imaginative and unorthodox shift towards new musical directions, but also as their best album to date.

Como fan de Spires That in The Sunset Rise que aún regresa de vez en cuando a aquellos oscuros rituales donde el por entonces cuarteto solía invocar a Comus desde un aquelarre, me gustaría empezar esta reseña señalando que 'Beast in the Garden' es indudablemente su grabación más experimental y sobrecogedora. Aunque el dúo emerge con estética y coordenadas musicales renovadas, todavía hay suficientes elementos para reconocer que Kathleen Baird (flauta) y Taralie Peterson (saxo alto) son las artífices de todo esto. Valga como ejemplo que la instrumentación sigue siendo tan ecléctica como siempre. No obstante, ahora todo gira en torno a un free-jazz nebuloso y fluctuante que parece lindar con el avant-garde. De hecho, este nuevo rumbo ha venido propiciado por diferentes inmersiones del dúo en comunidades free-jazz de Chicago, Madison y Milwaukee. De todos modos, Terry Riley parece haber sido la fuerza oculta y omnipresente detrás de todo. Así, la canción que da título al disco y ‘Schluss’ presentan a Kathleen con sus típicos y evocadores juegos vocales hacia el infinito, pero en un tono más operístico, y rodeado de cientos de loops y fascinantes pasajes de flauta y saxo. Lo cierto es que me viene a la mente una colaboración imaginaria en los confines del canterbury entre Lol Coxhil y Slapp Happy. ‘Bitchin’ (For Suma)’ emerge como una reencarnación más lúgubre del proyecto paralelo de Kathleen, Tropical Rock, pero igual de placentera. A continuación, nos topamos con Portabittaclog’, probablemente mi corte favorito, y ‘White on White’, donde el saxo de Taralie alcanza la inmortalidad y los espíritus de Roscoe Mitchell y Albert Ayler iluminan el camino a través de senderos en clave ambient. Otro punto álgido es ‘Promise Land’ con su exuberante instrumentación, cánticos y loops que dibujan un paisaje brumoso y misterioso. ‘The Sun’ regresa a la experimentación con texturas discordantes y descontroladas improvisaciones. Una vez terminado ‘Beasts in the Garden’, no queda más que postrarse ante la magia poco convencional de Taralie y Kathleen, reconociendo de paso que estamos ante su mejor álbum hasta la fecha.