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Search Result for Label IDEOLOGIC ORGAN
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2LP
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SOMA 015LP
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Gravetemple was formed in 2006 as a side-project of the band Sunn O))) by Oren Ambarchi, Stephen O'Malley and Attila Csihar. The group formed initially to tour in Israel in the summer of '06, creating several recordings which eventually became The Holy Down album, which was released on Southern Lord Recordings in 2007. At the time of the Israel tour, the Lebanon War started and was in action. In summer '08, the trio reformed together with the addition of Australian drummer Matt "Skitz" Sanders for a short European tour culminating in a headlining performance at Supersonic Festival in Birmingham. In late 2009, the original trio reconvened for a special one-off concert at London's Institute of Contemporary Arts. April 2013 marks the first set of live action since that period, and a new chapter in the ongoing system of the related network. Ambient/Ruin was created with the 2008 quartet -- elements of tape collage, concrète, and field recordings blend within a strong, geographically-diverse (parts were recorded in Japan, Australia, Paris and Israel) suite of heavy minimalist/maximalist music, black/death metal and drone. The culmination of these efforts become the music, literally, of Sadistik Exekution meeting Phill Niblock. Gravetemple clearly adapted the more abstract and experimental aspects related to Sunn O))) and have continued from that point, with ongoing focus on metaphysical construction of free music and will. The music became a geographically and metaphysically-based effort. Attila (chants & percussion & Fuji sounds recorded on location in Kamakura May 08); Stephen (guitars & Korg Polysix recorded in Paris & Saalfelden June 08); Matt (drums were recorded at 3 Phase studios, Melbourne by Sam Johnson March 06); Oren (guitars, motorized cymbal, electronics, bells, tympani, atmos recorded at Jerker House, Melbourne & BJB, Sydney 06-08). Cut by Rashad Becker at Dubplates & Mastering, Berlin February 2013. Drawings by Justin Bartlett/VBERKVLT. Art direction & backline design: SOMA. Housed in a gatefold sleeve.
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2LP
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SOMA 014LP
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Freermasonry Angle process has been severed, I wait with the goat's secret. Maul crushes skull On tiled ground. Eigenheit; sky-eyed willful one, Outside of them.
Statement from the Wold communiqué sent out following the completion of Freermasonry: "Lyrically Freermasonry consists of a series of poems and discourses. Early on in Freermasonry during 'SOL,' the Mother allusion is referenced out of Faust Part Two. It's a small portion and short moment. Faust does an invocation to the Mothers, but the execution is as trickery through occult charlatanism and not truly believed ritual. Goethe found passages about dark goddess figures known as Mothers in the writings of Plutarch. The metaphor is ambiguous, generally associated with creative dark force and will, but reared in a potent lie. I use it in correlation with screech owl as atheistic reactionary sentiment. Of course there are many other aspects to Freermasonry." --Fortress Crookedjaw
"This is all to say that Freermasonry -- the obliterative sixth album from Wold, the Saskatchewan act led by the incredibly named Fortress Crookedjaw -- is ultimately enigmatic and entirely unknowable, an intersection of noise, metal, and electronics that doesn't yield to such plainclothes criticism. Mean, dense and multivalent, with a lyrical conceit based on Masonic symbolism and Biblical scripture, it's the rare loud music that begs to be louder still if you're to have any chance of understanding it. Freermasonry is a case study in controlling the illusion of chaos, an elegantly constructed nightmare of sound where hearing one layer of serrated screams, static bursts, and feedback flares means you've missed some mass of activity somewhere else. Weirdly seductive rhythms tumble beneath a laundromat of blown-out tones and crackling vocals, generally pulling your attention a dozen different ways. I've been listening to the album consistently for three months now, and somehow, I'm still surprised by what its 58 minutes sound like and accomplish. Paradoxically disorienting and direct, Freermasonry is a constant tumult of surprising activity, more unforgiving than most everything in the noise, metal, and drone scenes, places where Wold kind of fits." --Grayson Currin, Pitchfork (8.3); Members include: Fortress Crookedjaw (poetry, discourse, composition, bass, devices, synth, and vocals); Obey (guitar on "SOL" and "Free Eyes"); and Acrimonia (guitar, additional compositional work, and programming on "Annex Axe"). Housed in a gatefold sleeve.
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SOMA 008LP
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The deep electric rainforest sound atmospheres that the listener will hear on this record was the tip of the iceberg of a rich and elaborate work process. For over 30 years, Norbert Möslang has made installations, sound performances,and music records that are deeply involved in the hidden world of vibrations to convert them into loud sounds and thick textures. Living simultaneously in spheres of inside/outside, micro-vibrations, spatial structures, underground music venues, art galleries, underwater, glass windows, body movement, precise equalizers, insects, microcosms, and electronic devices, Möslang constructs fascinating, untrammeled worlds of both philosophical and physical power. "I attempted a Voice Crack gig when I was 21 at an experimental noise festival in Fribourg ... Möslang and Voice Crack opened to me both the ways to experimental noise music as well as sound art performance. When looking through the rear-view mirror, it's clear that in the late '70s/early '80s, there weren't many artists working with harsh noise -- a list of the classics includes The New Blockaders, Whitehouse and Throbbing Gristle in the UK; Hijokaidan, Merzbow, Incapacitants in Japan; NON, The Haters in the States, among only a few others. Since the break up of Voice Crack in 2002, Norbert Möslang enlarged his practice to cover all noise and experimental practices, from lo-fi 'Everyday-Cracked-Electronics,' saturation/overdrive work, performance and improvisation, field recordings and multi layered ambient noise composition. Through interconnecting, heterogeneous everyday objects; linking the outside sound environment into a quiet art museum by fixing microphones to its windows; filming the underwater Venice canal in order to set off neverending imagery flux, allowing a movie to play its own soundtrack by triggering photo-sensors, Möslang proves to our entire nervous system that the world we inhabit is no more than infinite continuum. To talk about indoor_outdoor specifically, again, Möslang's music drives us from nothing to everything. A field recording in a Swiss harbor is then processed and composed in a studio. The second track 'hot_cold_shield' is a collaborative duo with Toshimaru Nakamura, an influential member of the Onkyokei scene in Japan -- a brutal live improvisation recorded at Manif d'art in Québec." --Balthazar Lovay, Deborence, September 2012; Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin, October 2012.
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LP
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SOMA 011LP
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The second beautiful album by the duo of Jessika Kenney -- a vocalist known for her haunting timbral sense, as well as her profound interpretation of Persian vocal traditions -- and Eyvind Kang -- a violist for whom the act of music and learning is a spiritual discipline. All tracks were composed by Kenney (voice, percussion, electronics) and Kang (viola, setar, electronics). "The Central Javanese Wangsalan is a kind of riddle (two lines, twelve syllables each, divided 4 and 8 ), sung by the female vocalist on the gamelan, often using images of natural phenomena alongside descriptions of human characteristics, invoking atmospheres of primordial knowledge, humor, heightened sensation, philosophy, with much hidden wordplay and reference." -- J. Kenney. "Tavaf" is based on a ghazal by twelfth century Persian Sufi poet Attar (12th c.). Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin October 2012.
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LP
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SOMA 010LP
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"I met Richard in 2004 on a crazy tour in Australia (Oren Ambarchi's last 'What Is Music?'). He was a founding member of The Sun City Girls but he came out to play solo. Instantly we were entranced by his playing, so many beautiful elements of why I love guitar come through in his music and presence, without floating around in genre space at all. Here on the road with Kevin Drumm, Dead C, Residents, Gang Gang Dance, Black Dice, etc., amongst this insane line-up, Richard ended up supporting Pan Sonic and really held it down, as a soloist. A few years later, Peter Rehberg and I (as KTL) were invited to join a tour Richard was doing with Earth. His incredible communication of atmosphere and texture was even more fluid than I remembered -- a real pleasure. If the reason to start a record label is to release the music you are truly enamored by, this is a true example of that philosophy." --Stephen O'Malley, Paris 2012; All songs composed & recorded by Sir Richard Bishop. Master & vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin, April 2012.
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SOMA 006LP
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МИГ (MIG) produced by Pro Arte Foundation for JSC "Klimov" Aviation Engines Museum, St. Petersburg, Russia, September 2011. Recording assistant: Vladislav Petrov, producer: Ekaterina Puzankova. "IBM" tracks recorded at EMS Elektronmusikstudion, Stockholm, April 2012. "ONE" tracks premiered at San Servolo, Venezia, Italy, December 2008 together with Anna Koch's "Scratch Memory." "Give Us the Tools ...." was premiered at Theaterhaus Stuttgart, Germany, July 2006, dedicated to Hugh Davies. "Children Of Paradise" is a tape part remaining from the piece "Sörmländsk Tragedi" for children's string orchestra, premiered at Kulturhuset Stockholm and Sveriges Radio P2, February 2003. Mats Lindström works as a composer and a musician, often with strains of live electronics. He often works with intermedia, scenic elements and visual arts as a complement to the music, and has worked both with music for concerts, theater and dance as well as radio art and sound installations. Formerly an engineer in the electronics industry, Lindström has designed and constructed a number of unique electronic musical instruments and apparatuses. Ideologic Organ curation and art direction by Stephen O'Malley.
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2LP
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SOMA 009LP
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Gatefold 2LP version. Nazoranai is Stephen O'Malley, Keiji Haino and Oren Ambarchi. "Oren Ambarchi has been an active colleague -- we have collaborated on a number of Sunn O))) projects, and also Sunn O)))-related projects, film scores, tours, meals, etcetera over the years. He brought us to Australia for the first time in 2004, we toured Israel with Attila Csihar as Gravetemple Trio in 2006. Oren introduced us to Haino-san in 2006 when Sunn O))) played the FIMAV festival in Victoriaville, Quebec (Oren was in the ensemble on that tour), in a stinky locker room (the venue was a hockey ring). Had no idea what to expect but a few hours later, he was on stage with us. It was one of those 'what now' moments you never imagine happening, having been a fan/follower of Haino's playing, concerts and recordings over the years. Five years later, somehow, we ended up as this trio. Haino, Oren and I were all in Holland for one reason or another and decided to try it. I played bass for the first time on stage with this group. Maybe it shows but the idea was a power trio backing up Haino-san, with a lot of amplification. We have had the chance to repeat the trio twice again so far, and this recording comes from a concert in Paris, November 2011. It's hard to describe the lessons through real-time communication in music with such a master of form, but needless to say, they were much different than what I was expecting and beyond! Proof again that expectations lead to dead ends. Was a most challenging experience in real-time music. I feel incredibly honored to be part of this trio." --Stephen O'Malley; Keiji Haino (guitar, vocals & synth), Stephen O'Malley (bass guitar) & Oren Ambarchi (battery). Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin, April 2012.
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CD
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SOMA 009CD
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"Oren Ambarchi has been an active colleague -- we have collaborated on a number of Sunn O))) projects, and also Sunn O)))-related projects, film scores, tours, meals, etcetera over the years. He brought us to Australia for the first time in 2004, we toured Israel with Attila Csihar as Gravetemple Trio in 2006. Oren introduced us to Haino-san in 2006 when Sunn O))) played the FIMAV festival in Victoriaville, Quebec (Oren was in the ensemble on that tour), in a stinky locker room (the venue was a hockey ring). Had no idea what to expect but a few hours later, he was on stage with us. It was one of those 'what now' moments you never imagine happening, having been a fan/follower of Haino's playing, concerts and recordings over the years. Five years later, somehow, we ended up as this trio. Haino, Oren and I were all in Holland for one reason or another and decided to try it. I played bass for the first time on stage with this group. Maybe it shows but the idea was a power trio backing up Haino-san, with a lot of amplification. We have had the chance to repeat the trio twice again so far, and this recording comes from a concert in Paris, November 2011. It's hard to describe the lessons through real-time communication in music with such a master of form, but needless to say, they were much different than what I was expecting and beyond! Proof again that expectations lead to dead ends. Was a most challenging experience in real-time music. I feel incredibly honored to be part of this trio." --Stephen O'Malley; Keiji Haino (guitar, vocals & synth), Stephen O'Malley (bass guitar) & Oren Ambarchi (battery). Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin, April 2012.
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2LP
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SOMA 007LP
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"Ákos Rózmann (1939-2005) studied at the Bártók conservatory in Budapest and took diplomas in both composition and organ playing at the Liszt Academy. In 1971, he was given a scholarship to study electronic music in Stockholm. His encounter with the electronic tools was a revolutionary experience for him and was to give a whole new direction to his work. Soon he abandoned composition for acoustic instruments and was later to claim that instrumental music 'had no future.' For several years, he earned his living as an organist at St. Eric's Catholic Cathedral in Stockholm, often using recordings of organ sounds made in the dead of the night as a source for his electronic works. Rózmann often preferred monumental forms and several of his most prominent works, such as '12 Stationer' (trans. '12 Stations') and 'Mässa' (trans. 'Mass'), grew side-by-side over a long period of time. With a few rare exceptions, the conflict between good and evil was the basic theme in his works. The fight went on continuously in arenas and within power relations that would suddenly change. In Rózmann's imagined world, no room was given to chance. Big powers, luminous or dark, would lie behind the most trivial everyday events. A large portion of Tibetan Buddhism gradually infiltrated his Catholic Weltanschauung, and '12 Stationer,' composed between 1978 and 2001, is a musical interpretation of the Tibetan Wheel of Life. The last part of the 12 stations, 'old age and death,' is called 'the celebrators' in Rózmann's version (completed in 2001). When asked what sort of celebration he meant he replied: 'the merriment you hear is false, it is not genuine, it is empty.' 'Dörr Med Tårar' (trans. 'Door With Tears') from 1988-1989 is unmistakeably an homage to Pierre Henry and the title alludes to 'Variations For A Door And A Sigh.' During one of my last encounters with Rózmann, he told me in depth about how Henry's influence was significant in leading him to choose electronic music. He regarded 'Le Voyage' from the Tibetan Book of the Dead to be the most important pioneering piece in the history of electronic music. Ákos Rózmann showed particular devotion to his work during more than thirty active years. During his lifetime he never sought, nor did he win any mentionable recognition. As a true modernist, he didn't compose with an audience or the critics in mind. His mission was to compose for the future. It was his conviction that the mystical energy for compositional work should derive straight from God. It is a truly great thing to witness the publication of this album." --Mats Lindström, Stockholm, February 2012; lona Maros (soprano), Miklós Maros, Viveca Servatius (voices), Ákos Rózmann (piano and voice). Composed at EMS elektronmusikstudion, Stockholm, by Ákos Rózmann. Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin May 2011. Ideologic Organ curation and art direction by Stephen O'Malley.
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LP
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SOMA 002LP
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Jessika Kenney is a vocalist known for her haunting timbral sense, as well as her profound interpretation of vocal traditions. Eyvind Kang is a violist for whom the act of music and learning is a spiritual discipline. Aestuarium is a meditation on a psalm of lamentation and the unary tone in the metaphor of salt and fresh water, inspired by Gaelic psalmery, Tibetan notational gestures, and the microtonality of the tetrachord. Recorded on the shore of Colvos Passage in 2005 by renowned engineer Mell Dettmer. Stephen O'Malley comments: "Amongst many other amazing pieces Jessika & Eyvind collaborated on SUNN O)))'s Monoliths & Dimensions album, Jessika leading the choir on the piece "Big Church" and Eyvind composing the acoustic arrangements for "Big Church" & "Alice." I learned an immense amount about music through these collaborations, specifically the idea of Spectral music through research and discussion/reference points of composers such as Grisey and Murail. Aestuarium is a beautiful piece of minimalist spectral music which has brought great pleasure to my ears over the years." Originally released on CD by Endless Records in 2005. Ideologic Organ curation and art direction by Stephen O'Malley, manufactured and distributed by Editions Mego.
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