released February 21, 2022
Recorded at home and in the car 11/21-2/22.
Silvertone, acoustic, Casio, Wurlitzer, P-Bass, MS-20 Mini, Eurorack, Echoplex, Ebow, Overdrive.
“Jerry” contains lines/references to Seinfeld “The Pilot” S4.E23
“Way She Goes” and “Notes” contain a reference to Trailer Park Boys “The F…in’ Way She Goes” S5.E3
Notes On The Artwork:
As you’ll read below, the original name and artwork of this album came at a pessimistic time of my life. Five years later, I decided that the whale deserves another chance to fly.
~~
A Letter From The Composer:
After a decade of making music I didn’t think I’d write another album after this one. At least, not publicly.
In 2017 I was kinda miserable. It was my first year as a full time teacher, which was a source of an incredible amount of stress. I was living on my own for the first time, making just enough to pay rent and my bills, in a tiny little apartment I have since come to refer to as “the shoe box”.
The thing with teaching is that it largely obliterates your spare time, if you let it – and gosh was I letting it. I didn’t foresee a future where I could continue doing that work and also have music as a quasi-professional pursuit on the side. There simply wasn’t enough time.
To quote a certain supernatural whale in a video game…
So I went about figuring out what an album would look like. I’d only written one in the past – a daft little thing called Wednesday I wrote when I was an even more miserable university student who’d just discovered brickwall limiting and was listening to too much Ben Folds. I thought if I was going to stop I should at least stop on my own terms and put a capstone on the whole thing. I reinterpreted and renamed some older pieces (Time, Relic, Home, Owl Temple, Theme For A Friend) and wrote some new ones (Farewell, Castle Gate) and also for good measure snuck in that one piece of mine that had actually got any traction. We all know the one and why. I packaged it all up with a collage of public domain images, put it out into the universe, and stepped back satisfied that it was over.
That didn’t work out, did it?
2022 marks a decade of being Reeder, and five years since this record, so I thought I’d finally get around to mastering it. I kinda skipped that part the first time around because I didn’t really think anybody would listen and people mystify the mastering process so much that I thought I wouldn’t be able to do it justice. Now, with five more years of production experience behind me, I finally feel confident enough to go back in and finish Dreams.
I am unfathomably grateful that this music has reached the number of people that it has, and continues to. I’m thrilled that it has found people’s hearts the way I had only dreamed it would. That this only happened because of a wild stroke of luck and one person with a large audience is not beyond me.
Thank you to everybody who listened, and a special thank you to everybody who hung around. I can’t wait to see what I’m gonna make in the next decade. I hope it’s good.
– Reeder, Feb 6 2022
credits
released March 18, 2022
Artwork by Alice Jooren – alicejooren.nl.
All pieces composed or improvised by Reeder.
Engineering by Reeder.
If you enjoy this music please consider sharing it.
This album explores different aspects of the manipulation of time. I have been asking myself how the digital results of manipulating time relate to my perception of time in the physical world. Having become comfortable watching videos at 2x speed, I recently found myself wanting to 2x a video call. In that moment, getting the information in real-time seemed inefficient. I wondered if I saw efficiency as simply squashing as much as possible into as little time as possible, and what does that mean for making and experiencing music.
I chop up the sounds as I chop up my time – squashing some meaningful moments and escaping from time through rituals of repetition. I enjoy the frantic sound of fighting time, but I am equally interested in the moments of surrender.
I wanted to create and experience music in different time scales. While there is no auditory container for sound, there is a time frame. We have physical limitations to how we can perceive music as the perception of sound is directly linked to time.
The artefacts that are produced from extended time-stretching are processed further to create textures and glitches. The results appear to me as fragments that suggest something lost or something found. Through a collapsing, expanding and ravelling of information, something new is created. It is not simply the same thing played fast or slow, but a new ‘thing’ that is very different to the original source, though still connected to it.
All these tracks began as improvisations. There are no restrictions to the processing and production, except that nothing gets redone. There is some quality in the spontaneity that I want to preserve. Though the material is shaped and transformed in many ways, it has an origin that is connected to a time, place and emotion.
Album artwork by Daryl Feehely.
Full album available for free download here: www.panyrosasdiscos.org/pyr315-jenn-kirby-ravel/
Any proceeds from this album will be donated to Women’s Aid. www.womensaid.ie
credits
released March 18, 2022
For its 56th release, Da ! Heard It Records revels in reviving rave.
After releasing a first record in 2011 on Da ! Heard It, Astroboiler changes tapes in 2022 and surprise: it is covered in smileys.
Under the name of Zyxbotcba, the musician serves us here a mix of artisanal sonorous fractals with a sour scent. Among the bouncing blips and other roughly digitized vocal samples, old school rhythm boxes and synthetic layers all smoothly will remind the elders of their first mixes.
Reminiscent of IDM stammering and more generally of the electronic effervescent of the 90s, these 11 euphoric pills offer a mental panorama more neon than a cesium 137-flavored highlighter tropical cocktail. Homemade recipe, shake after opening.
Da ! Heard It Records’ 56th release is distributed under a Creative Commons BY-NC-ND license.
The album is available on cassette or digital for free at the following address: www.daheardit-records.net/en/discography/dhr-56#release
released April 3, 2022
All pianos, electronics, melodica, etc. performed by Kevin
Vocal samples plundered
Crowd noise in track 9 courtesy of freesound.org user kyles
released March 27, 2022
W&P by soundcloud.com/cliff-tower
“Todo Lo que Extrañas Ya No Existe!” (“Everything You Miss No Longer Exists!”) is the second release for Pueblo Nuevo by Concepción based artist Eduardo Jofré Carrera aka Eduardo Only. A 4-track Glitch-Hop / Hip-Hop and IDM exercise in which we can enjoy nebulous, random and ethereal melodies, FM synthetic pads of exquisite taste, sampled drum hits and rhythms that combine perfectly with the evocative and cinematic turntable inserts. Possessing the mastery of a grainy, glitch-loving songwriter, this early human Jedi conceived this EP by means hardware-based one-take jam recordings, which were only tweaked with software at the time of mastering. Special mention is the tribute to the Chilean graffiti artist Masek, a personal friend of the musician, in precisely the track that bears his name. In short, if you like artists who sound like the future, who handle downtempo, trip-hop and master their tools with originality and skill, I recommend this work, without any doubt.
Héctor Aguilar aka Polar
(Punta Arenas, Chile. March 2022)
A fantastic ambient soundscape through the mind of Alan Turing
released March 19, 2022
INTRO TO THE MUSIC
In music many things are said, but there are many that are silenced. Today the Bari Almost Halloween Time Records and Lepers Produtcions bring out the unspoken with a record of new languages and clumsy attempts at cultural appropriation. A compilation inspired by Richard Feynman and his poem “A tuzzo lanto” and “Prisencolinensinainciusol” by Celentano, the lallation and what Saint Nicholas understood while the 62 Bari sailors stole his bones from Turkey.
A compilation dedicated to the acceptance of misunderstanding, which is used by Luigi and Giuseppe to introduce themselves to some of their favorite musicians and by deceiving them to celebrate the largest city in eastern Italic which is Bari, for those who do not yet know it.
released March 15, 2022
“Eternal Values was written within the first year of me moving to Chicago. Acclimating to the constant noise & bearing witness to countless days of grey skies in a city filled with violence left me feeling hopeless some days.
Eventually, I was able to take a step back from everything and process these feelings into sound. Not only was I getting acquainted with my new found surroundings but I was also dealing with a loss in the form of a relationship that spanned many years. Truly all 5 stages of grief were poured into this EP, especially the more ambient songs. Finally it became almost overwhelming and I felt it needed to be heard.”
credits
released March 18, 2022
This release is an affair of the heart and needs all of your support.
This EP is by Dmytro Bobryk from Bucha by Kyiv in the Ukraine. He and his family had to flee from the Russian invasion in his city and he had to take his family to safety. Every day we all see with horror what is happening in Ukraine. This war against an entire innocent people is so horrible and utterly pointless and we all hope it ends as soon as possible. I’m so sad when I see the war pictures and I’m incredibly proud of the Ukrainian people who are fighting for their freedom and independence.
With this EP I want to support Dmytro Bobryk and his family during this difficult time they are going through and all proceeds go 100% directly to him and his family. Of course, this is only possible with your support and that’s why I ask you to support my project by buying the EP to show that we don’t look the other way and that everyone can help, even with small means.
Thanks for your support.
My heart is with Dmytro, his family and all of Ukraine.
credits
whispers from the cradle
Running highway through the night-time-cold, morning rainbow in a narrow snow-edged road, slim curves claiming skills and then the mountains, as seen from above
hearth at the heart of the earth
Labouring the harvest at the core of it all, something introspectivally experimental will burn, not by guilt but for one last bloom
far out camp
Dubious map of our own reality, whisking through the wind the directions of divine fatality
around and about
Way off the passing tunnel, there is a moment in time for the glimpse of eternity, now is when we all meet again
olhar em Van Gogh
Tudo para trazer os corvos da aurora, a distante primavera em sensação de luz pela manhã
Musica Fractal Aeterna
All we know without knowing, unexpected clue, this is a mirror through the eternal archive, where one contemplates the whole journey
cobaia nova
Surge dentro de um (corpo) em todas as direcções e todas as formas, divide-se em coisa enorme que enfrenta tudo e que tudo une
Sou uma cobaia, com todas as forças (do bolor) e não quebra, uma cobaia (dentro de) todas as direcções
O globo em chamas exclusivas, uma cobaia em todos os sentidos, uma cobaia da minha lógica
Sou uma cobaia da minha inteligência, em todos os sentidos e em todas as direcções
Cobaia, em todos os átomos (a) espuma furiosa, a chuva como pedra, sou uma cobaia (a vida é nisto) obrigada ao meu corpo
Sou uma cobaia dentro do meu corpo, uma cobaia a transbordar da minha alma
Que ruge, estoira, vence e quebra, dentro do meu corpo uma cobaia a transbordar da minha alma
Que ruge, estoira, vence e quebra, sou uma cobaia dentro do meu corpo, uma cobaia a transbordar da minha alma
Que ruge, estoira, vence e quebra
Et Caetera: clean air and clean water
This is the ultimate well-being, the turn of a last resource, the tune from a fullfilled drop of a life-time, period. Accept the cycle, it is in the hands of receiving, the clean air, the clean water, etc.
Run Lab Dub
Let us all come to an end but not without an extended moment of joy for being alive, rejoyce with the manifestation of all the invisible sightseeings
It’s 2022 and jazz returns to MiMi. We couldn’t return to jazz without musicians like João Tavares, Michael Smith and Filipe Larsen. Fernando Resendes is the guest who brings with him the electronics that are perfectly involved with the saxophone, the electric bass and the drums.
This first volume prod our curiosity. Four improvised parts that take us to Casa Grande da Caloura, on the island of Azores, in 2021. The island is an important part of this narrative. Anyone who has been there knows that the climate is different, that the lightness of the island is reflected in the sounds that are part of this record. Music that remind us of the sudden change between the sun and the rain, between the heat and the goosebumps on the skin. Cadences that make us wait for the next step.
Dynamic and memorable.
Close your eyes and absorb the story. It is obvious that it will not end in this volume.
Part I
Michael Smith > soprano Saxophone
Filipe Larsen > electr. bass
Fernando Resendes > electronics
João Tavares > drums
Part II
Michael Smith > alto Saxophone
Filipe Larsen > electr. bass
Fernando Resendes > electronics
João Tavares > drums
Part III
Michael Smith > tenor Saxophone
Filipe Larsen > electr. bass
Fernando Resendes > electronics
João Tavares > drums
Part IV
Michael Smith > tenor Saxophone
Filipe Larsen > electr. bass
João Tavares > drums
Music and art by Akis Karanos
Available on limited edition tape on
kokkala.bandcamp.com/
released March 1, 2022
CLOUDWARMER is Eddie Palmer and Brett Zehner
Story by Barry Burton
twitter: @bbwritesstories
Additional Modular Recordings by Jamarr Mays (Track 3,7,13)
released February 26, 2022
Filip Homola:
syntezátory, elektronika,
loops, piano, sampler
Michal Kořán:
syntezátory, elektronika,
loops, terénní nahrávky
Hudba k představení Divadla Drak v Hradci Králové s názvem Expedice, má láska!
Bílý ostrov září. Ztracený uprostřed ledového oceánu vydává světlo, přestože to nikdo nevidí. Právě teď, když sedím ve Stockholmu a píšu tyto řádky, obklopuje Bílý ostrov záře.
Nikdo to nevidí. Ale ostrov září dál.
Inscenace vychází z knihy Expedice: Můj milostný příběh švédské autorky Bey Uusmy. Vydává se po stopách tříčlenné pionýrské expedice inženýra Andréeho z roku 1897, která se neúspěšně pokusila dobýt severní pól s pomocí horkovzdušného balónu. Tento dobrodružný příběh se dočkal řady zpracování včetně toho filmového ve snímku Let Orla, který byl nominovaný na Oscara. Na českých jevištích se však objevuje vůbec poprvé. Skrývá v sobě romantického ducha objevování a objevitelství, tragiku lidských osudů, které se předčasně završily kdesi v polární pustině, nenaplněnou osudovou lásku i řadu úsměvných, groteskních momentů souvisejících se samotným záměrem expedice.
Nahráno v Liberci, v Praze a v Hradci Králové, 2021–2022
Mix: Filip Homola
Mastering: Michal Kořán, Moon studio, Praha
Cover: Amonit Sharpei
Produkce: Filip Homola a Michal Kořán
EPP 213-4
Executive Producer
YZOX (@yzox_jpn)
twitter.com/yzox
Supervised by
HYRADIANCE a.k.a Hiroki Yamamura (@Hironeyyyyyyy)
twitter.com/hironeyyyyyyy
Artwork
松傘 (@matsukasa_)
twitter.com/matsukasa_
English title
CRZKNY (@CRZKNY_JP)
twitter.com/crzkny_jp
credits
released February 25, 2022
57 Track Album
Cover Design by 松傘
Produced by YZOX
Supervised by HYRADIANCE a.k.a Hiroki Yamamura
English title by CRZKNY
“Reinvention of the Sacred” is a musical consideration of the after-effects of the ‘god is dead’ idea on Western society. Nothing has replaced the ideals represented in the best of spiritual thought, and our behaviours have changed as a result. For some, there is no longer any reason to behave in an ethical manner, nothing to live up to. The vacuum left by the decline in the perceived importance of the spiritual search calls for a reevaluation of what has meaning, what is important.
The music that comprises “Reinvention of the Sacred” is very minimalistic, almost ‘not here’ at times. This approach was taken in an attempt to aurally depict a non-dual continuum, wherein there is no separation between matter and Spirit, profane and divine.
released February 22, 2022
You look like you’ve seen a…GHOST!
It hasn’t stopped snowing. We’re going to the moon.
credits
released November 26, 2021
1. Glass (Produced by Kill Bill: The Rapper) [Featuring vocals by Jessica Jacobs]
2. DoNotDisturb (Produced by Kunouii) [Featuring Scuare and Rav]
3. Cigarettes (Produced by Kill Bill: The Rapper)
4. A While (Produced by Tajima Hal)
5. What to Say (Produced by Kill Bill: The Rapper x FrankJavCee)
6. Ring Ring (Produced by Kill Bill: The Rapper)
7. snowdancer (Produced by Kill Bill: The Rapper)
8. Pearl (Produced by Kill Bill: The Rapper)
9. Poltergeist (The Boy Who Broke The Glass) (Produced by Kill Bill: The Rapper) [Featuring Airospace]
10. Destiny Bond (Produced by Flowers in Narnia)
11. ib (Produced by Kill Bill: The Rapper)
12. SPACEMAN (Produced by styn.)
Mixed and Mastered by Kill Bill: The Rapper
Recorded at the Aqualounge somewhere deep in the swamps of South Carolina.
Album art by @Pyawakit
exociety.
