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Music & artwork by Faunes Efe
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Written by Tom Ridley, Finn Mclean and Jack Barrett
Mixed by Tom Ridley
Mastered by George Lever
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Music, mixing and mastering by tkhds
Cover art collage and design by tkhds
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They have not stopped. In spite of everything, they found enough strength through their recovery to chronicle their harrowing experience on their second LP, New Pain. Despite their physical and emotional injuries, they continue to persevere in their musical journey.
It has only just begun.
SUMMORE is: Julie Rose & Justin Rose
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Guided by Neil Leonard, who has worked with Magdalena Campos, Fujiko Nakaya, Phill Niblock, and Tony Oursler, the session was truly magical.
It’s psych rock embodied with an electronic spirit, spiralling(sic) off into thunderous rhythms, blistering solos, ethereal melodies and sampled voices, with exuberant playing and focused improvisation.
Working with David Tronzo on electric (slide) guitar (David Sanborn, John Cale, The Lounge Lizards, Sex Mob, Wayne Horvitz), Mike Rivard on bass (Cab Calloway, Frank Zappa, Morphine, Jon Brion), and Dean Johnston on Drums (Superhoney, Club d’Elf), they propelled the music into entirely fresh and dynamic territory.
The session was part of a residency in the Berklee Interdisciplinary Arts Institute at Berklee College of Music, Boston. Huge gratitude to Neil Leonard who steered the production in the right direction.
This exclusive version on Bandcamp features a reworking of Time Code by legendary American musician Richard Devine in collaboration with Neil Leonard live in Boston in 2014
“It hits the kind of openended(sic) all-consuming groove to be found in The Necks, Tortoise or Miles Davis in modal mode: pulsating, circling jazz patterns, bass bubbling through ring modulation and envelope filters, sax and slide guitar, with Rimbaud’s shortwave radio and electronics dusting through the gaps”
The Wire Magazine
“The album provides a powerful document of the idea that music is a living, breathing force of nature and as an ever-evolving possibility. The interplay with between the electronics, punctuating drums, bass, and horns delights in newfound measure. From the night-time atmosphere of grainy cinema or the nostalgic whisper of words to the more colourful(sic) excess of psychedelia, to the edge or life-affirming all points are referenced, touched upon, and then exercised.”
Magazine Sixty
Robin Rimbaud – Electronics, shortwave radio, keyboards
Neil Leonard – Soprano and alto saxophones, bass clarinet, and live electronics
David Tronzo – Electric (slide) guitar
Mike Rivard – Bass
Dean Johnston – Drums
Fred Oliveira – Tracking engineer
Artur Sandulyak – Mix engineer
Recorded live on 9 March 2014
Mixed and produced by Robin Rimbaud
Composed by Robin Rimbaud, but the recordings were extensively improvised by the musicians
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In the artist’s words, TO THE ANCESTORS is “An exploration into synthetic nature”, drawing inspiration from, and conjuring the emotional resonance of, forest bathing, zen garden sitting, and the historical elegance of the Gagaku and Koto music of Edo period Japan. The album seamlessly merges these influences with moods of the environmental music movement Kankyō Ongaku of the 1980s and 1990s and then passed through a filter of modern electronics, digital processes and patch cables resulting in a collection of meditative pieces that evoke a sense of calm, introspection and peace.
Composed between 2018 and 2020, the album’s eight tracks, titled only by their duration, are rich in texture and shimmering with radiance. Utilising modular, analog and digital synthesis, Stefane and Targo conjure sounds that feel both distinctly processed, yet organic in nature, and in doing so, embody the Japanese traditions and practices of Wabi-Sabi. Digital flutes breathe through self-generative CV patched Gewa blocks while fountains of ethereal granular plucked koto like sounds cascade and glide over serene synthesised sparkles, drips, and tweets in a mimicry of the natural world bringing a harmonious meeting of human and machine, nature and virtual landscapes. Through40 minutes, these aural infusions hint at shades of Hiroshi Yoshimura, Midori Takada, Satoshi Ashikawa and other greats of the Japanese ambient golden era.
Prepare your favourite(sic) Temea ceremonial tea, relax and enter a state of serenity. This is environmental meditation music for the digital now-age.
Joshua Stefane, known for his work as Endurance, is a prolific Ontario, Canada born producer and curator currently residing in Nara, Japan. One of the founders of cult ambient cassette tape label Muzan Editions, Stefane has been instrumental in organising(sic) and supporting various events, happenings, and festivals in his adopted home, (such as the annual Moment Festival held in the majestic Tenkawa village) and being a vital, nurturing connector to an international community of forward thinking electronic ambient artists and DJs.
Steve Targo, performing as Inner Travels, and more recently as Nimbudala, is an American, Wisconsin based artist and explorer of inner and outer worlds. He has been creating New Age and spiritual-adjacent visionary music for years, releasing meditative works for cassette tape on labels such as Aural Canyon, Sounds of The Dawn, Fluere Tapes, and Inner Islands. A true purveyor and practitioner of futurist healing sounds.
TO THE ANCESTORS will be available in both digital and physical realms. Physical copies will be released exclusively through bandcamp as a limited edition pro-dubbed C90 cassette, featuring translucent smokey shell, on-body print, 4-panel full-colour inlay and as always, a screen-printed Golden Ratio Spiral acetate, continuing Golden Ratio Frequencies’ tradition of offering quality, visually appealing sonic totems.
Pre- Order available 21 June 2024, with full release and shipping from 5th July 2024.
Composed 2018 – 2020
Inner Travels – Synthesisers
Endurance – Modular Synthesis
Photography – Joshua Stefane
Design & Layout – A P Macarte
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Swedish musician Erik Jarl has been active since the Fall of 1999, principally as Jarl. He was also a member of post-industrial act IRM, of which Erik was one of the founding members. Jarl’s music has been released on several labels through the years, and he has collaborated with acts like Anemone Tube, Envenomist, and Skin Area. Erik Jarl composes his music through a total analogue approach with the use of synthesizers, analogue sequencers, waveform generators, and oscillators, as well as several echo/reverb and delay units.
Recorded in Spring-Winter 2023 at Norrköping, Östergötland, Sweden by Erik Jarl.
Published by Reverse Alignment in collaboration with Luce Sia.
Mastering by Raffaele Pezzella (a.k.a. Sonologyst).
Artwork by Karolina Urbaniak.
Cd layout by Matteo Mariano.
Cat. Num. RA65.
© 2024. All rights reserved.
Label Description: Scottish experimental/electronic musician Drew McDowall’s lifelong interest in an elegiac solo bagpipe style called pibroch (ceòl mòr in Gaelic) has been an inspiration for much of his previous work (including Coil’s legendary Time Machines). This form, often traditionally used for laments and for tributes to the dead, fuses modal drones with flickering dissonance and plaintive melody evoking an ancient, solemn mood.
His latest work, A Thread, Silvered and Trembling, both incorporates and transforms these elements via exploratory electronic processing, weaving an electro-acoustic tapestry of strings, shudders, voids, and voices, alternately disembodied and displaced. Co-produced with engineer Randall Dunn at Circular Ruin Studios in Brooklyn, the collection’s four pieces capture McDowall at his most elevated and elusive, in thrall to “the ineffable – that which refuses to be spoken.”
McDowall’s palette here is unusually eclectic, sourced from a dynamic orchestral ensemble arranged by Brent Arnold and comprised of cello, viola, violin, harp (Marilu Donovan of LEYA), and french horn. Ebbing between shrouded electronics and enigmatic, sometimes spectralist orchestration, the album moves with a seething, simmering energy, surging into elegant, uneasy crescendos. The first two pieces are inspired by a liberatory hijacking and inversion of a grim biblical story (and by a cryptic and strange UK simple syrup branding). Opener “Out of Strength Comes Sweetness” shivers with short echo and resonant pads, before shifting into the album’s centerpiece: the 14-minute saga “And Lions Will Sing with Joy.” A murmuring electrical storm of keening strings and disorienting drones gradually grows darker and denser, until suddenly there’s a crack in the clouds, revealing mutated choral voices and sparkling harp. McDowall describes the track as “an incantation to help usher in a break, and a new beginning.”
The record’s latter half evokes a deep untamed animism shot through with spiraling radiance. “In Wound and Water” sways with harp, plucked strings and eerie cello undertows while lush layers of disorientated electronics hang in the dusk. There is no resolution, only a faint gradient of fragile dissipation, leading into the album’s harrowing and climactic closer, “A Dream of a Cartographic Membrane Dissolves.” Processed voices (credited on the liner notes to “The Ghosts Who Refuse to Rest”) contort, whisper, and gather as the rest of the ensemble sharpens, poising to strike. Then it does – grand, tragic stabs of strings and horns lashing the sky, storming heaven by force.
The fallout is poetic and inevitable, raining embers into a dark sea. But the journey and catharsis of A Thread linger long after it goes silent. Like so much of McDowall’s multifaceted catalog, this is music of immanence and alchemy, attuned equally to the sacred and the profane, to the tile and the mosaic.
No label description.
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Recently rescued from the dusty vault of DATs, this is the follow-up album to Off and Gone’s debut “Everest”, released on Harthouse worldwide in 1996.
Released now, in 2019, dedicated to Phil Western (RIP), who would be thrilled to see this collection unleashed into the world.
“This album and the yet unreleased Floatpoint material were written in parallel and constitute the last body of work Phil and I did together. After that our lives took different turns and we were each concerned with producing and releasing solo works. While we have always valued the tracks written in that period [spring and fall of ’96] once a few years passed they faded from memory and quietly waited on DAT tapes for the day of playback.
With the untimely passing of PW came the desire to expose the music we made back then, a concrete testimony of our joy of working together.”
Dan Handrabur, Bucharest 2019
Music For The Rest Of Us 