Haptic – Ambivalence (Ash International)

Label Description:

Performed by Steven Hess, Joseph Clayton Mills, Adam Sonderberg
with
Mark Wastell (1)
and
Linda Jankowska, Sarah Hughes, Seth Cooke (2)

Late Work I
Recorded by Billy Steiger (London)
Mixed by Olivia Block and Adam Sonderberg

Late Work II
Recorded by Thomas Carroll (Leeds), Will Montgomery (Brighton), Kathy Hinde (Bristol), and Haptic
Mixed by Joseph Clayton Mills

Mastered by Giuseppe Ielasi

Across two decades of restless exploration, the Chicago trio Haptic has earned a reputation for meticulously assembled recordings complemented by unpredictable, often riveting live performances that veer from rigorous minimalism to densely textured, immersive sonic environments. Consistently blurring the lines between different genres and disciplines, their experimental practice has expanded to include installations, soundtracks, and unique site-specific performances at venues such as Chicago’s Museum of Contemporary Art, Lincoln Park Conservatory, and Hyde Park Art Center, as well as collaborations with dancers, filmmakers, and institutions such as the Chicago Film Archive and the Art Institute of Chicago. Their recorded output has been marked by a similar breadth and eclecticism, ranging from the intricacies of Scilens (2011) to the almost monochromatic hush of Abeyance (2014) and slow-motion dissolution of Sensitive Dependence on Initial Conditions (2024).

Research and development: Thanks to Mike Reed and Josh Berman (Chicago), Thomas Carroll (Leeds), Will Montgomery and Paul Khimasia Morgan (Brighton), Dan Linn-Pearl (Hay-on-Wye), Seth Cooke (Bristol), and Fielding Hope (London) for hosting; Sarah Hughes and Mark Wastell for logistical support; Linda Jankowska, Sarah Hughes, Seth Cooke, and Mark Wastell + Tim Daisy (Chicago) and Rose Linn-Pearl (Hay-on-Wye) for performing; Arts Council England and Arts Council Wales for financial support.

Ambivalence 2025: 28 September, Hungry Brain, Chicago; 2 October, Wharf Chambers, Leeds; 3 October, Coach House, Brighton; 4 October, The Old Electric Shop, Hay-on-Wye; 6 October, The Cube, Bristol; 7 October, Cafe OTO, London.



This is Haptic recording number seventeen.

You can read a review here: salt-peanuts.eu/record/haptic/ and also in Chain D.L.K.: www.chaindlk.com/reviews/13493

Dusted also – dustedmagazine.tumblr.com/post/814796017101914112/dust-volume-12-number-4-part-2

Reverse Image / Thomas Bey William Bailey – 常若 / Tokokawa (Fourth Dimension Records)

Label Description:

This collaborative release presents three immersive movements of avant-electronics full of unexpected tonal contrasts and shifts in intensity. Powered by modular synthesis, “concrete” assemblage technique and a pervasive desire to work with the full spectrum of sound, Tokokawa is the product of its two producers’ commitment to a dynamic, ever-renewing sense of aesthetics.

From late 2023 to the present, we started from a simple, agreed interest in collaboration to something that became much more carefully calibrated and conceptually guided.The results are, to my ears, a seamless and strangely organic suite of electro-acoustic pieces that hone in on the “essences” of various avant-electronic genres (“noise,” “drone,” “dark ambient,” etc etc) without succumbing to their more cliched elements. We composed this material almost telepathically (i.e. with a bare minimum of instruction and revision needed) and I’m excited to share the results with my supporters here.

I think our music is a representation of us being conduits for energies that precede us and will survive us, and to that end we also named the three “phases” here with verbal cues indicating different states of matter: “Amanogawa” is either the “Milky Way” or, in direct translation, the “River of Heaven.” “Nurikabe” is a solid plaster wall that, I’m told, occasionally figures into bouts of sleep paralysis. “Jouhatsu suru Yuurei” are “vaporizing ghosts” (the confusion this may cause native Japanese speakers is intentional – I was trying to imagine something ephemeral becoming somehow even more ephemeral).

We aimed at creating pieces which would also have the “properties” of solid, liquid or gas, but not completely: the focus is, again, on cyclical renewal and therefore each of these phases has just enough of an open-ended quality to it.

The CD version of this album on Fourth Dimension is also enhanced by lovely full-color artwork from Paul Takahashi, and expert mastering by Ryoko Ono.
 

Originally released on 5th July 2024

Y’ng-Yin Siew (Reverse Image), Thomas Bey William Bailey:
analog modular synthesis, real-time digital processing

Paul Takahashi: artwork

Thomas Bey William Bailey: CD layout / design

Ryoko Ono: mastering

datewithdeath – Apple Tree Brightness (Poverty Electronics)

Label Description:

composed and produced between October 2023 and January 2024


datewithdeath is Travis D. Johnson: field recordings, electromagnetic and otherwise; digital synthesis; springs; motors; objects; oscillators; drum machines; radios; glockenspiel
linktr.ee/travisdjohnsonwrites

Sohme – PSALM23: Palm (Phantom Limb)

Label Description:

Persian-American ambient producer sohme joins Phantom Limb’s Spirituals imprint for debut album Palm, a study of new fatherhood and changing stages of life for synthesis, acoustic instrumentation, and field recording, integrating a practice in architecture and two distinct cultural heritages.

Saumon Oboudiyat, aka sohme, is a Persian-American sound artist, producer and architectural designer based in Philadelphia. His music is informed by a decade of work in architecture and a lifetime of musicianship. Through a careful balance of soft harmonics, Eno & Lanois-esque melodic detail, slo-mo chordal shifts, and drifting, dreamlike field recordings, the music of Palm reflects Oboudiyat’s entry into parenthood and the accompanying transformation therein. “When I began working on the album in New York, we were just starting to see the other side of the pandemic,” he writes. “Upon completing mixing in my home studio, my wife and I prepared to welcome a new life into this world.”

Opening track and first single “These Are All My Thoughts” combines monastic reflection with a swelling and sirenic pathos, employing the kind of cosmic redolence that conjures early space travel documentary or hermetic contemplation. Hues of twentieth century German ambient production glitter and enshadow its powerful sonics.

Later, “The One, The Other” is more reminiscent of Middle Eastern musics. An oud-like pluck shudders and shimmers about broken and nonlingual vocal snippets, a howz of still water amidst a desert plain of sparse and arid instrumentation. Another key moment is “Signal”, and its deceptively pop-oriented chord structure. Housing clattering steps, shooting stars of high frequency melody, and single notes of conical synthesis that resemble the Persian karna, its soundworld is warm and enveloping, safe and secure.

sohme joins A Lily, Jan Esbra, Eamon Ivri, Sachi Kobayashi, Dau, Ibukun Sunday, Beqa Ungiadze, Suso Saíz, Menhir, Francsesca Ter-Berg, Dylan Henner, and Pram of Dogs (and others) on Phantom Limb’s Spirituals imprint, a sub-label offering works of high grade, emotive ambient and experimental music from emerging artists from across the world. Palm is his debut release.

subterrene – the same rivers (Poverty Electronics)

a3406090907_10

Label Description:

instrumentation: Arturia MicroFreak, Elektron Analog Keys, Camel Audio Alchemy software synthesizer, modular sampler, Hologram Microcosm

recorded at the Fortress of Squalitude

credits

released August 11, 2023

all production and programming by subterrene
subterrene.bandcamp.com

mastered by Marcus Miller at Holosuite Mastering
holosuitemastering.com

cover photo by Grant Stewart
sleeve design by Travis D. Johnson

Dedicated to K. You always have seen the good in me, even when I didn’t see it myself.