Tomoko Sauvage
‘Musique Hydromantique’ (SP087)

SP087 Tomoko Sauvage Shelter Press Musique Hydromantique Bartolome Sanson

Tomoko Sauvage ‘Musique Hydromantique’

Extracts mix

Technical

2017
3 tracks
40:00 min

LP
33 rpm / First edition of 500 copies
200 copies on clear
300 copies on black
140grm vinyl, artwork printed on reversed-board sleeve and innersleeve.

CD
Edition of 1000 copies in digipack.

Credits

All music by Tomoko Sauvage
Mastered and cut by Rashad Becker at D+M in Berlin
Design by Bartolomé Sanson

Cover photo – Jens Ziehe
(Temporäre Galerie in der Quartiershalle Campus Rütli – CR²)
Profile photo – Sébastien Grisey

Tracklist LP

A1 Clepsydra (10:49)
A2 Fortune Biscuit (08:37)
B1 Calligraphy (20:34)

Tracklist CD

1. Clepsydra (10:49)
2. Fortune Biscuit (08:37)
3. Calligraphy (20:34)

Order / Wholesale

— Pre-order from our STORE

— Digital via BANDCAMP

— Distribution via :
BOOMKAT (UK/EU/ROW)
FORCED EXPOSURE (USA)

Tomoko Sauvage Shelter Press

About

Musique Hydromantique is the second solo album by Tomoko Sauvage archiving many years of her performance-based practice on the waterbowls – the natural synthesizer of her invention, composed with porcelain bowls filled with water and amplified via hydrophones (underwater microphones). While her first album Ombrophilia (released on and/OAR in 2009) was studio-recorded /composed work, Musique Hydromantique is about experimentation and improvisation with the environment – acoustics affected by the architecture, temperature, humidity and the human presence.

For more than ten years, Sauvage has been investigating the sound and visual properties of water in different states, as well as those of ceramics, combined with electronics. Water drops, waves and bubbles are some of the elements she has been playing with to generate the fluid timbre. Since around 2010, hydrophonic feedback has been an obsession for the musician – an acoustic phenomenon that requires fine tuning depending on the amount of water, a subtle volume control and interaction with the acoustic space.

Calligraphy was recorded in a genuine echo chamber, with about 10 second reverbs, situated in a former textile factory. Like an endless exercise to draw perfect curves and forms floating in the air, the subaquatic feedback frequencies are pitch-bended with the mass of water sculpted by a hand changing its quantity. Fortune Biscuit is about the singing bubbles emitted from the pieces of ‘biscuit’ (porous terra-cotta). Depending on the texture of the surface, each biscuit makes different sound : insect and animal voices in a forest, motors, crying babies changing pitches and rhythms while absorbing the water… Clepsydra (meaning water clock) features Sauvage’s classical technique, a random percussion with dripping water. She tunes the waterbowls by adding and removing water, making flowing glissando, to find the balance point in ever-changing tonalities.

Just as the flow of water is subject to a number of variables such as temperature and pressure, water clocks mark a time that is shifting and relative. However, slowness dominates throughout the album as a result of favoring the full resonance of the instrument, leading to a path to experiencing timelessness.

Hydromancy is a method of divination by means of water. Unpredictable bubbles and water ripples become oracles. Evaporation and acoustic space constantly play a chance operation. Through primordial materials and ritualistic yet playful gestures, Musique Hydromantique questions contemporary divination.

All the tracks are live-recorded without electronic effects or editing. They were recorded during the night or very early in the morning and the whole album is to be listened to during that period of a day.

LP edition of 500 copies with reverse board-printed inner and outer sleeve. Digipack CD edition of 1000 copies. Mastered by Rashad Becker at Dubplates and Mastering.

About the artist

Tomoko Sauvage, Japanese musician and artist active since mid 2000’s, investigates the sculpturality of sound and improvisation in relation to the environment. Mainly known for a musical / visual research about ‘natural synthesizer’ of her invention, composed with diverse fluid, bowls, ceramic, light and underwater amplification, Sauvage’s approach is attached to questions of alchemy, meditation and balance between hazard and mastery.

Born in Yokohama, Japan, Sauvage moved to Paris in 2003 after studying jazz piano in New York. Through listening to Alice Coltrane and Terry Riley, she became interested in Indian music and studied improvisation of Hindustani music. In 2006, she attended a concert of Aanayampatti Ganesan, a virtuoso of Jalatharangam – the traditional Carnatic music instrument with water-filled porcelain bowls. Fascinated by the simplicity of its device and sonority, Sauvage immediately started to hit China bowls with chopsticks in her kitchen. Soon her desire of immersing herself in the water engendered the idea of using an underwater microphone and led to the birth of the electro-aquatic instrument.

Under the form of performances, installations and musical compositions, her work is regularly presented in Europe, Asia and America. She has performed and exhibited at international festivals, institutions and galleries such as Roskilde Festival (Denmark), Flow Festival (Finland), Centre Pompidou Metz (France), Musée Quai Branly (France), Présences Electronique (France), Borderline Festival (Greece), Borealis Contemprary Music Festival (Norway), Museo Tamayo (Mexico), High Zero Festival (USA), Festival send+receive (Canada), Empty Gallery (Hong Kong), TÖNE festival (UK) and Grimmuseum (Germany). She has also been deeply connected to DIY art/ music scene and is more and more interested in educational projects. In 2016, her visual music project ‘Green Music’ started in collaboration with Francesco Cavaliere.



Gabriel Saloman
‘Movement Building’ (SP086)

Gabriel Saloman Movement Building Shelter Press

Gabriel Saloman ‘Movement Building’ (2xCD)

Extracts

Technical

14 tracks

02:00:54 min
2xCD
2017
first edition of 500 copies
Digipack

Credits

All music by Gabriel Saloman
Mastered and cut by Helmut Erler at D+M
Design by Bartolomé Sanson

Tracklist

CD1

1. The Disciplined Body
2. Contained Battle/Ascend
3. Ear Piercer
4. Mountain Music
5. Gagaku
6. My Funny Valentine

CD2
1. What Belongs To Time
2. What Belongs To Bass
3. What Belongs To You
4. What Belongs To Love
5. What Belongs To the Fire
6. What Belongs To the March
7. What Belongs To the Line
8. What Belongs To Sleep

Order / Wholesale

— Direct order from our STORE
— EU distribution via BOOMKAT
— US distribution via FORCED EXPOSURE

About

Since 2014 Shelter Press has been steadily releasing a multi-volume series of documents showcasing Gabriel Saloman’s music for contemporary dance. Under the title of Movement Building, these albums have covered a wide breadth of themes and approaches, all of them coalescing around Saloman’s darkly cinematic approach to contemporary guitar music. Known for his part in the seminal electronic-noise duo Yellow Swans (alongside Pete Swanson), Saloman has taken the sweeping drones and fried electricity of his former band and embedded them within an expanding pallette of bowed strings, martial percussion and resonant piano.

Shelter Press has now made good on its promise to collect all three volumes of this vinyl only series – Movement Building Vol. I (2014); Vol. II (2015); and Vol. III (2017) – as a double CD featuring two hours of music, new artwork, previously unreleased tracks, a new digital master by Helmut Erler of Berlin’s Dubplates & Mastering, and an extensive essay on dance, politics and the themes of each album written by Saloman. These collected volumes provide an absolutely necessary document for any fan of Saloman’s work, past or present.

The first disc collects Movement Building Vol. I and Vol. II, the former a sprawling 36 minutes epic that had previously been separated into two discreet tracks for vinyl and is collected here as one continuous piece, moving through an extended set of drone and loping drum play before climaxing in the kind of glorious guitar chording most often associated with groups such as My Bloody Valentine, GSYBE or Mono. Movement Building Vol. II explores various combinations of drum and drone, ASMR inducing high end clatter and Saloman’s infamous take on Miles Davis’ classic My Funny Valentine.

The second disc collects Movement Building Vol. III, including two tracks not available on the concurrently released vinyl version. Vol. III shares with earlier albums the emotive and disorienting bowed guitar, militant percussion and searing guitar eruptions that was so evocative of memory and trauma. Joining this pallet are other familiar Saloman sounds: shoegaze washes of distorted guitar, minimalist piano attacks, melancholy guitar melodies, and a patina of harsh noise at just the right moments. Added to this is a more contemporary approach to drums and bass, perhaps an effect of his collaborations with producer Michael Red in their dub-ambient project Chambers.

Saloman’s music has never sat comfortably in any genre, sharing with a select cohort of other artists (Stephen O’Malley, Lawrence English, Grouper, Kreng, Tim Hecker, among others) an ambiguous position overlapping “modern classical”, “electronic music”, and the more outer limits of “ambient metal”. The recordings collected in Movement Building doesn’t clarify as much as it expands Saloman’s oeuvre further into an idiosyncratic musical no-man’s land that fails to be faithful to any popular musical trend – contemporary, retro or futurist.

— 

Out on September 22th as 2xCD compiling all 3 volumes of the Movement Building serie.

See also

Gabriel Saloman ‘Movement Building Vol. 3’ LP (SP085 / 2017)
Gabriel Saloman ‘Movement Building Vol. 2’ LP (SP063 / 2015)
Gabriel Saloman ‘Movement Building Vol. 1’ LP (SP051 / 2014)

 



Gabriel Saloman
‘Movement Building Vol.3’ (SP085)

Gabriel Saloman Movement Building Vol 3 Shelter Press Bartolomé Sanson

Gabriel Saloman ‘Movement Building Vol.3’

Extract

Technical

7 tracks
Download code included with one additional track
45:07 min
LP / 33 rpm
2017
first edition of 500 copies
140grm vinyl, uncoated sleeve, black polylined inner sleeve

Credits

All music by Gabriel Saloman
Mastered and cut by Helmut Erler at D+M
Design by Bartolomé Sanson

Tracklist LP

A1. What Belongs To Time
A2. What Belongs To Bass
A3. What Belongs To You
B1. What Belongs To the Fire
B2. What Belongs To the March
B3. What Belongs To the Line
B4. What Belongs To Rest

Tracklist Digital

1. What Belongs To Time
2. What Belongs To Bass
3. What Belongs To You
4. What Belongs To Love
5. What Belongs To the Fire
6. What Belongs To the March
7. What Belongs To the Line
8. What Belongs To Sleep

Order / Wholesale

— Direct order from our STORE
— EU distribution via BOOMKAT
— US distribution via FORCED EXPOSURE

About

Shelter Press has made good on its promise to deliver the third and final volume of its series featuring Gabriel Saloman, released both on vinyl and collected with Movement Building Vol. I (2014) and Vol. II (2015) as a double CD. For fans of Saloman’s post-Yellow Swans work – an already dense catalog of darkly cinematic compositions mostly conceived as accompaniment to some of Vancouver’s edgier contemporary dance companies, Movement Building Vol. III is not only a much anticipated conclusion to this trilogy, it is the most fully realized album in years. Where as Movement Building Vol. I & II acted primarily as documentation of time-based artworks, Movement Building Vol. III offers a more coherent and narratively rich album that will appeal to admirers of Soldier’s Requiem (Miasmah, 2013).

Listeners will recognize the emotive bowed strings, militant percussion and searing guitar eruptions that evoked memory and trauma in that previous album. Joining this pallet are other familiar Saloman sounds: shoegaze washes of distorted guitar, minimalist piano attacks, melancholic appregiated melodies, and a patina of harsh noise. Added to this is a more 21st Century approach to drums and bass, perhaps an effect of his collaborations with producer Michael Red in their dub-ambient project Chambers.

Saloman’s music has never sat comfortably in any genre, sharing with a select cohort of other artists (Stephen O’Malley, Lawrence English, Grouper, Kreng, Tim Hecker, among others) an ambiguous position between “modern classical”, “electronic music”, and the more outer limits of metal. Movement Building Vol. III doesn’t clarify as much as it expands Saloman’s oeuvre further into an idiosyncratic musical no-man’s land that fails to be faithful to any popular musical trend – contemporary, retro or futurist.

Movement Building Vol. III’s themes are taken from the dance it was composed for, 2015’s What Belongs To You, created by longtime collaborator Vanessa Goodman (Adhere, Soldier’s Requiem). That work sent its dancers through a physical journey exploring the needs of the body, for shelter, for love and for self-actualization, roughly aligned to Abraham Maslow’s “hierarchy of needs”. The resulting album seems to achingly soundtrack the struggle for survival, not simply for bare life but for something greater and more transcendent that would make survival have meaning. It holds dread and hope in equal parts, never quite giving away the end of the story. Though this record was recorded two years ago Movement Building Vol. III could be the perfect album for our current era of civilizational near-collapse, whether at the hands of maniacal politicians, the slow burn of the Anthropocene or the constant enclosure of the corporate driven, social media enabled surveillance state.

Movement Building Vol. III arrives both as a stand alone vinyl release, and as part of a collection of all three volumes packaged in one double CD. The collection of these works allows one to see clearly Saloman’s techniques and approaches to a relatively limited number of instruments – guitar, percussion, occasional piano and tape. Movement Building Vol. I is presented as one continuous piece, moving through an extended set of drone and loping drum play before climaxing in the kind of glorious guitar chording most often associated with My Bloody Valentine, GSYBE or Mono. Movement Building Vol. II explores various combinations of drum and drone, ASMR inducing high end clatter and the now infamous take on Miles Davis’ classic My Funny Valentine. The digital versions of these albums, mastered by Helmut Erler at Berlin’s Dubplates & Mastering, restore to them their full range of frequency and dynamics, providing a deeper glimpse into the theatrical origins of their composition.

Movement Building Vol. III is not only the final installment in Shelter Press’ series but also represents the culmination of a prolific period of creation for Saloman that began with 2012’s Adhere. From 2011-2016, Saloman produced dozens of recordings in collaboration with various dance artists. Currently living in Santa Cruz, California, and working on a PhD concerning noise and protest, it’s unclear how a new home and a new political reality will shape the music he makes next. One thing is for certain: it’s unlikely that Saloman will be silent for long.

— 

Out on September 22, on LP / DL, and on 2CD compiling all 3 volumes of the Movement Building serie.

 



Bellows
‘Strand’ (SP080)

Shelter Press Giuseppe Ielasi Nicola Ratti Louis Reith Bartolomé Sanson
Shelter Press Giuseppe Ielasi Nicola Ratti Louis Reith Bartolomé Sanson

Bellows
‘Strand’

Extract

Technical

8 tracks
39 min
LP’ / DL
2017

— LP Edition of 500 copies pressed at Pallas on 140grm vinyl, printed artwork on reverse board-inner and outer jacket.

Release date: June 9th, 2017

Tracklist

A1. Untitled #1
A2. Untitled #2
A3. Untitled #3
A4. Untitled #4

B1. Untitled #5
B2. Untitled #6
B3. Untitled #7
B4. Untitled #8

Credits

All music: Bellows (Giuseppe Ielasi and Nicola Ratti)
Artwork: Louis Reith
Design: Bartolomé Sanson
Mastering: Giuseppe Ielasi
Cutting: D+M

UK/EU/ROW Distribution: Boomkat
USA/CA Distribution: Forced Exposure

Released by Shelter Press in 2017

Preorder

About

Italian electro-acoustic composers Giuseppe Ielasi and Nicola Ratti reconvene their unique Bellows collaborative project for a new album on Shelter Press.

Continuously drawing an hypnotic maze with albums on Boomkat Editions, Entr’acte, and Ielasi’s cult Senufo label, Bellows offers their first album on Shelter Press with Strand.
Clocking right under 40 minutes, Strand is direct and desorienting. With eight tactile but distant untitled tracks, the album convokes a complex sound palette between acousmatic sound and fractal beats.

Recorded in Milano at their very own Standards recording studio, Strand marks a shift in Bellows previous recording process, bringing more music gear on the table: tapes, modular synthesizers, effects and samples. Captured live over the course of a four days improvised session, the album floats between ghostly melodies, musique concrète, and analog electronics.

Echoing with the artwork by Amsterdam-based artist Louis Reith, whose collages made of found black and white images are disrupted by bold geometric constructions, the album is disorienting and fascinating, seating right in between the challenging world of electro-acoustic and a more welcoming beat-oriented territory.

Strand is a fascinating body of work, growing over time and revealing more of its complexity at every listen.

Released on June 9th, 2017 on LP and digital formats. Mastered by Giuseppe Ielasi and cut at D+M, with artwork by Louis Reith.

Félicia Atkinson
Hand In Hand’ (SP081)

Felicia Atkinson Hand In Hand Shelter Press Bartolomé Sanson
Felicia Atkinson Hand In Hand Shelter Press Bartolomé Sanson

Félicia Atkinson
‘Hand In Hand’

Extract

Technical

10 tracks
57:50 min
2LP/ CD / DL
2017

— DOUBLE LP
Pressed at Pallas on 140grm vinyls, printed artwork on uncoated sleeve and innersleeve.

First pressing
125 copies on white and green vinyls
375 copies on black vinyls

Second pressing
 300 copies on black vinyls due late september. Clic HERE to Order.

— CD DIGIPACK

1000 copies.

Release date: May 04th, 2017

Tracklist

Vinyl

1 I’m Following You
2 Valis
3 Curious In Epidavros
4 Adaptation Assez Facile
5 Monstera Deliciosa
6 Visnaga
7 A House A Dance A Poem
8 Vermillions
9 Hier Le Désert
10 No Fear But Anticipation

CD

1 I’m Following You
2 Valis
3 Curious In Epidavros
4 Adaptation Assez Facile
5 Monstera Deliciosa
6 Visnaga
7 A House A Dance A Poem
8 Hier Le Désert
9 Vermillions
10 No Fear But Anticipation

Credits

Music: Félicia Atkinson
Layout: Bartolomé Sanson

Mastered and cut by Helmut Erler at D+M.

Released by Shelter Press in 2017

Order / Wholesale

Ship on or before May 4th, 2017

PHYSICAL ORDER: available in the STORE
DIGITAL ORDER: available on BANDCAMP

Retail / Distribution
EU/ROW via BOOMKAT
USA via FORCED EXPOSURE

Selected Reviews

Tinymixtapes 1 (EN)
The Wire (EN)
The Quietus (EN)
Thump (EN)
Self Titled (EN)
15 Questions (EN)
— Tinymixtapes 2 (EN)
Fact (EN)
Boomkat (EN)
Fluid Radio (EN)
A Closer Listen (EN)
Brainwashed (EN)
— Tinymixtapes 3 (EN)
Stranded (EN)
Beachsloth (EN)
Gorilla Vs Bear (EN)
Yellow Green Red (EN)
Cuulturpers (NL)
Ondarock (IT)
Dommune (JP)
Lakenote (CR)
Mic (GR)

About the record

Félicia Atkinson new full length album, ‘Hand In Hand’ is an expanded development of her musical compositions started with the highly-acclaimed A Readymade Ceremony released on Shelter Press in 2015, and follows her collaborative effort with Jefre Cantu-Ledesma Comme Un Seul Narcisse (Shelter Press, 2016).

Composed over the year of 2016 at EMS during a snow storm and at home in Brittany, Hand in Hand could be considered as the most ambitious body of work recorded by the French musician and artist.

Doubt and Optimism are the two sides of a same coin. Hand in Hand is arid and warm in its whole synchrony and opposition. Days are burning and nights are made of ice. Coyotes are exchanging sounds with rattles snakes while bunnies are hiding. Strident modular sounds are tearing apart minimal beats and drones. The stories told by A Voice to the auditor are no longer fictions and become slowly reality.

Electric waves transmitted by living creatures and machines seem to deliver special sounds and frequencies that only non-human can hear. They grow and vibrate despite of the walls and interdictions. Therefore, the human who is listening to this record might find in it a particular kind of emotion a way to take space in silence, and frame a certain vision of thinking while losing a certain notion of time, acknowledging step by step its universal environment. Plants, galaxies, animals, machines, Hand in Hand.

This record is meant to be a moment of common thinking and listening in its diversity and abstraction. In the same way a sci-fi novel by Philip K. Dick or a sculpture by Guy Mees can be percieved: trivial, sensitive and mysterious at the same time.

The opening track, I’m Following You is a bleached romantic ballad for Fender Rhodes that could be the ending title of a Martian love story, whereas Visnaga praises the resources of a desert plant through asmr voices, field recordings and evasive chords. A House A Dance A Poem is a feminist hymn composed as a pyramidal structure, referring in the same time to the A-frame houses, the yoga position of the triangle, the first letter of the roman alphabet and the feminine sex. In the closing song, No Fear But Anticipation, Atkinson offers an open hearted plea about the existentialist necessity of finding desire even when the times seem too dark to think about it. A telepathic and non-scholastic anthem for Don Delillo, Joan Didion and Jean Paul Sartre. The final Buchla sounds that close the record seem to deliver an unspeakable message that only birds and aliens could transcript.

The echo of the 80’s sci-fi anxious aethetics resonates with today’s transparency of digital sounds in the whole record. The cohabitation of simple midi textures and historical Serge and Buchla signals are convoked and confronted together by A Voice. The human instrument appears here as the epicenter of the recordings, giving to the others instruments a gravitational point.

Joan La Barbara, Robert Ashley or Delia Derbyshire are the main influences of Atkinson in their own way of inviting fiction, composition and abstraction as the essential materials of composition. For Hand In Hand, Félicia Atkinson used different sources for the lyrics and scores of her tracks: house plant instruction books, Desert Magazine old issues, architecture manuals, JG Ballard and K. Dick’s books, as well as her own poetry.

Félicia Atkinson will premiere Hand In Hand for GRM’s festival Presences Electroniques with a 16 channels diffusion. A 7 hours extended version of the record, conceived as an evironmental audio book will be broadcasted for 2 months at La Criée Center for Contemporary Art from April 1 to May 31 in Rennes (FR).

About the artist

Félicia Atkinson (Paris, b. 1981) is a french composer and visual artist, currently living in Rennes, France.

After graduating from the French art school Les Beaux Arts de Paris, a city where she started to make art and music under her own name, she moved to Brussels in 2009 to persue her artistic carrier, developping a wide visual body of work mainly focusing on sculpture and painting. It’s also there that she began to record music under the moniker Je Suis Le Petit Chevalier. Between 2010 and 2013, she released albums with this moniker on labels such as Shelter Press, NNA, Aguirre, Digitalis.

The year 2011 was the year of two albums recorded under her own name and recorded mainly with rhodes and guitar: The Driver (Hibernate) and O-Re-Gon (Home Normal). Mexico-based label Umor Rex will released a collection of B-Sides and rare tracks in 2013 on the double LP ‘Visions / Voices’.

Nature and contemplation playing a central role in her creative process, she relocates in 2013 for two years in the French Alps where she records at home her highly acclaimed album A Readymade Ceremony and the material for her collaborative album with NY-based musician Jefre Cantu-Ledesma Comme Un Seul Narcisse, both released on Shelter Press. With those two albums, she reaches a new milestone in her musical research, defining the seminal elements of her actual composition tools: concrete music, asmr voices, minimal electronics, field recordings, improvisation with guitar and piano, abstract distortions and infra basses, always held by a strong sense of musical harmony.

Currently based on the French Atlantic west coast where she shares her time between her artistic carrier and musical practice, she composed Hand In Hand (Shelter Press, 2017), her most ambitious release to date. It’s in this new context that the problematics of sound instalation, multichannel diffusion, and performance are starting to play a key role in her musical practice.

It’s also in 2016 – 2017 that Félicia Atkinson exhibited her visual work the most with various solo exhibitions and performances in galleries and contemporary art centers around the world.

Félicia Atkinson has played in international festivals such as GRM’s Presence Electronique (Paris, FR), Rewire Festival (Den Hague, NL), Novas Frequencias (Rio De Janeiro, BZ), Sound Of Stockholm (Stockholm, SE), Borderline Festival (Athens, NL). She also performed in many art venues including Lisa Cooley Gallery (New York, USA), Palais de Tokyo (Paris, FR), Kunsthal Charlottenbord (Copenhagen, DK).

Félicia Atkinson co-runs Shelter Press with Bartolomé Sanson from its beginning in 2012.

Native Instrument
‘Camo’ (SP073)

Native-Instrument-Shelter-Press

Native Instrument
‘Camo’

Extract

Technical

4 tracks
20 min
12′ / DL
2017

— 12′ Edition of 500 copies pressed at Pallas on 140grm vinyl, printed artwork on uncoated sleeve with centerhole on front.

Release date: March 16, 2017

Tracklist

A1. Deep Frog
A2. Vögel Unserer Heimat

B1. Waldfest
B2. Emutional Flutes

Credits

All music: Felicity Mangan and Stine Janvin Motland
Artwork: Felicity Mangan and Stine Janvin Motland
Layout: Bartolomé Sanson

Mastered by Giuseppe Ielasi
Cut at D+M and pressed at Pallas.

Released by Shelter Press in 2017

Order

Retail / Distribution
EU/ROW via BOOMKAT
USA via FORCED EXPOSURE

About

Native Instrument is a Berlin based sound collaboration bringing together the field-recordings archive of Felicity Mangan and the abstract vocabulary of Stine Janvin Motland.

Often referred to as insect techno, Native Instrument’s music is constructed using electronic and vocal adaptations of wildlife audio recordings originating mainly from the Australian and North European fauna; mixing the natural rhythms of animal calls with digital effects and vocal imitations, Native Instrument enlightens a sonic ambiguity between rural nature, electronics, and the human voice.

Over time, field recordings and human vocabulary become mixed up, indiscernible from one another – a sound illusion that ends in the creation of a new melodious wildlife genre.

With their debut release Camo, Native Instrument presents their true artificial nature; sound collages moving between tropical ambience, club inspired bug beats and amphibian trance.

Mastered by Giuseppe Ielasi and pressed at Pallas in a first edition of 500 copies.

Gábor Lázár
‘Crisis Of Representation’ (SP076)

Gabor_Lazar-Crisis_Of_Representation

Gábor Lázár
‘Crisis Of Representation’

Extract

Technical

8 tracks
37:51 min
LP + CD/ CD / DL
2017

— LP Edition of 500 copies pressed at Pallas on 140grm vinyl, printed artwork on uncoated sleeve and innersleeve. Includes the CD in digisleeve. First 200 copies pressed on white wax, remaining on black.

— CD Edition of 500 copies in digipack.

Release date: January 12, 2017

Tracklist

A1. Crisis Of Representation #1
A2. Crisis Of Representation #2
A3. Crisis Of Representation #3
A4. Crisis Of Representation #4
B1. Crisis Of Representation #5
B2. Crisis Of Representation #6
B3. Crisis Of Representation #7
XX. Crisis Of Representation #8 (CD only)

Credits

Music: Gábor Lázár
Artwork: Zsófia Boda
Layout: Bartolomé Sanson

Mastered and cut by Rashad Becker at D+M.

Released by Shelter Press in 2017

Order / Wholesale

Ship on  January 12, 2016

PHYSICAL ORDER: available in the STORE
DIGITAL ORDER: available on BANDCAMP

Retail / Distribution
EU/ROW via BOOMKAT
USA via FORCED EXPOSURE

About

Budapest-based composer Gábor Lázár debuts on Shelter Press with his second full length album, Crisis of Representation.

Continuously defining his unique composition skills over the years, Gábor Lázár shared a first release with Russell Haswell for his now defunct imprint Last Foundation, quickly followed in 2014
by the album I.L.S. on Lorenzo Senni’s Presto!? label and EP16 on Boomkat’s The Death of Rave, before collaborating last year on a joint album with Mark Fell for the highly acclaimed The Neurobiology of Moral Decision Making, also released on The Death of Rave.

Crisis of Representation, his next statement is a collection of 7 (+1) pieces. Years in the making, the record gathers tracks « mostly recorded in 2015, but some of the tracks were recorded as early as 2011 ; but they are all about the same idea. It’s really important to me to be able to be focused over a long period of time ».

Titled as Crisis of Representation, the album is another step further into the direction his abstract techno fragments. Instead of repeating beats, Gábor Lázár maintains linearity by using only one type of characteristic sound and a few composition techniques throughout the whole album.

Gábor Lázár Crisis Of Representation will be released on January 2017 on LP (with bonus CD), CD, and digital formats. Mastered and cut at D+M by Rashad Becker, with artwork by Zsófia Boda.

Ben Vida
‘Damaged Particulates’ (SP075)

sp075-a

Ben Vida
‘Damages Particulates’

Extract

Technical

2 tracks
38 min
LP/DL
2016

— Edition of 500 copies pressed at Pallas on 140grm vinyl, printed artwork on uncoated sleeve and innersleeve.

Release date: October 20, 2016

Tracklist

A. Damaged Particulates
B. Reducing the Tempo to Zero

Credits

Music: Ben Vida
Artwork: Katy Fischer
Layout: Bartolomé Sanson

Mastered and cut by Helmut Erler
at Dubplates and Mastering.

Released by Shelter Press in 2016

Order / Wholesale

Ship on / before October 20, 2016

PHYSICAL ORDER: available in the STORE
DIGITAL ORDER: available on BANDCAMP

Retail / Distribution
EU/ROW via BOOMKAT
USA via FORCED EXPOSURE

About

Ben Vida’s Damaged Particulates LP represents the conclusion of one body of work, Damaged Particulates, and the beginnings of a new long form project titled Reducing the Tempo to Zero.

The version of Damaged Particulates (2012-2016) included in this LP is the final iteration of a piece that Vida has been developing for close to four years. It first materialized as a number of individual synthesizer studies under the title Damaged Parts. These studies became the source material for an early version of DPs, taking shape as a commissioned work for the Unsound Festival. For the commission the piece coalesced as a single, through-composed live sound installation that utilized tactile subbass speakers which interfaced directly with the audiences bodies. In this form Damaged Particulates was presented at festivals, galleries and museums including versions at Experimental Intermedia, New York, Cricoteka Museum, Kraków, Poland and Leap Gallery, Berlin. It has since been presented in live performance at Museo d’Arte Moderna di Bologna, Bologna and Electrónica en Abril, Madrid and as a multichannel defusion at the Akousma Festival, Montreal.

Reducing the Tempo to Zero (2016 – ???) is the first recorded dispatch of Vida’s new long form composition. This excerpt demonstrates a short instrumental passage taken from a work that, in its full duration, clocks in at close to five hours. Live performances featuring a four member vocal ensemble have been presented at Lampo, Chicago and at The Kitchen, NYC. This mutable composition will be reconfigured once again in late 2016, this time scored for choir and electronics, to be staged in Italy and Belgium.

Reducing the Tempo to Zero represents Vida’s return to the durational drone based forms that he first experimented with in the mid-90’s with his group Town and Country. In performance, RtTtZ continues his exploration of phonetic based text scores. This method of scoring was used in his project Slipping Control which debuted at Audio Visual Arts Gallery, NYC (the vinyl version is available as an LP from Shelter Press), and creates a continuous thread between his work as a composer and his developing career as an artist. In recent solo shows at 356 S Mission Rd, Los Angeles and Lisa Cooley Gallery, NYC Vida has expanded his compositional process into a number of mediums, acting to blur any delineation between disciplines and practices.

Mastered and cut by Helmut Erler at D+M
Out on Oct 20, 2016 on Shelter Press

D/P/I
‘Composer’ (SP074)

sp074-lpcd-copie

D/P/I
‘Composer’

Extract

Technical

7 tracks
31:38 min
12’/CD/DL
2016

— 12′ in an edition of 500 copies pressed at Pallas on 140grm vinyl, uncoated sleeve w/ die-cut hole on front
— CD in an edition of 500 copies in jewel case

Release date: September 09, 2016

Tracklist

1. Poly-
2. Semantics
3. Image Furnace
4. Ecstatics
5. Escape
6. Acid
7. Pattern/WAYTA?

Credits

Music Alex Gray
Artwork Alex Gray

Mastered and cut by Rashad Becker
at Dubplates and Mastering.

Released by Shelter Press in 2016

Order / Wholesale

Ship on / before September 09, 2016

PHYSICAL ORDER: available in the STORE
(last copies on the 12′ !!)

DIGITAL ORDER: available on BANDCAMP

Retail / Distribution
EU/ROW via BOOMKAT
USA via FORCED EXPOSURE

About

D/P/I (Alex Gray) is a musician, DJ and visual artist from USA; he has made music under the alias of Deep Magicand as a part of various Sun Araw Trios, Duos and Quartets. Now, most of the time, he plays drums, guitar, or saxophone at home for his other half & two cats. Here he presents Composer. Mastered and cut by Rashad Becker at D+M.

“Composer” is an album of rhythms that, once started, eventually completed themselves without much input from the “Composer”. The character of a rhythm can develop very simply/unconsciously with just a slightly different part of the hand hitting a drum, or the wrist getting tired, causing trembling and stuttering that further magnifies the rhythmic stability of the pattern and/ or player. With electronics, it’s different physically, as you are not “hitting” anything, but the link to the subconscious/unconscious, remains analogous. Every adjustment to a single sound/pattern can reveal complexities that were not apparent when the sound/pattern started. A natural flow begins, similar to the development of complex accents via “human error” of using an ordinary djembe or conga: as the composer begins to inter-be entranced by the sound/ pattern, with a midi-mapped set of physical knobs, controlling complex processes/effects – each effect/process assumes it’s own character for that, almost quantum-like, layer of improvisation – layer by layer, until the simple layers of sound/patterns have naturally developed into compositions that reflect the seeming-instability, excitement, and sadness in time, here referred to as a fixed, unmoving element in the “universe”, that our human software is intrinsically dependent on to interpret these rhythms and the rest of the material world. This album was fun, exciting and unpredictable until the day it was “finished”. I hope this album encourages people to think for themselves. This isn’t a “techno”, “experimental”, “abstract”, “dance”, “IDM”, or any “genre” of album. I hope you know what I mean. I hope that music hasn’t lost the quality of inter-being “beyond categorization”. I also hope that, to a small extent, this album can act as a beacon of creativity for future generations, who are currently being completely saturated by marketing content for products and media that will do nothing but confuse and distract them. — Alex Gray, July 2016

 

Press pic

SP074_PR_PIC

Matt Carlson
‘The View From Nowhere’ (SP072)

Matt Carlson The View From Nowhere Shelter Press

Matt Carlson
‘The View From Nowhere’

Extract

Technical

9 tracks
36:50 min
LP / 33 rpm
2016
first edition of 500 copies
140grm vinyl, uncoated sleeve, uncoated inner sleeve

Release date: July 21, 2016

Tracklist

A1. Sitting Down To Boolean Tea
A2. In Order To Find the Real Artichoke, We Divested It Of Its Leaves
A3. The Game
A4. A Discrete Infinity
B1. An Enhanced Interrogation Of Authenticity
B2. The Non-Entity
B3. How S Can Be Indirectly Self Defeating
B4. The View From Nowhere
B5. Why I Left The Center

Credits

Composed, recorded, edited, and mixed in 2014
by Matt Carlson at Worksound in Portland, OR.
bucketfactory.com

Mastered and cut by Helmut Erler
at Dubplates and Mastering.

Art/Layout by Matt Carlson and Eric W. Mast.
Released by Shelter Press in 2016

Order / Wholesale

Out on July 21, 2016

ORDER / available in the store 

Distribution in EU via Boomkat and USA via Forced Exposure

About

The View From Nowhere is a record of experimental electronic music that explores possible relationships between voice and modular synthesis. Composed and recorded by Matt Carlson at Worksound in Portland, OR, the record develops and expands ideas discernible in his early solo works or as one-half of the duo Golden Retriever.

Built with a clear unity of approach centered on the voice and text as elements in synthesis, the record flattens the distance between the vocal and the musical. The voice sounds synthesized, and the synthesized sounds seem to be speaking to you. The View From Nowhere takes Carlson’s interest in the sounds of attempted communication into the realm of the textual.

Although melody and a good dose of Matt’s unusual sense of humor shape the record, another key emphasis in the composition is his specific approach to rhythm and sequencing. Rhythmic patterns are used but the music is somehow never fully on or off the grid. Carlson opts to use Nancarrow-esque overlapping meters and tempos to keep the music out of any kind of predictable patterns of electronic music.

The View From Nowhere is thematically centered around ideas of confusion, panic, misunderstanding, and “bad faith” communication. It’s interested in the process of how something moves from being an “abstract” sound into becoming a signifier of specific meaning, and the interstitial space in between.

The felt attempt to communicate meaning lay behind the artwork as well, standing as a visual representation of the way the music approaches language. The text-based imagery strives to exist between sense and nonsense, the meaningful and the meaningless. Individual syntactical units “point” to one another but don’t necessarily cohere into comprehensible statements. Relationality is implied and seems to emerge merely by placing signifiers against one another.

Taking influence from text-sound composers such as Charles Amirkhanian, the early voice-synthesis work of Charles Dodge, and Robert Ashley’s more speech-heavy work, The View From Nowhere might be Matt Carlson’s most challenging and refined record to date. It’s like being near a million tiny entities all trying to communicate with you simultaneously, or being in a crowded place hearing the rhythms and cadences of communication but not quite being able to parse it.

Mastered and cut by Helmut Erler at D+M, pressed on 140g vinyl.
Edition of 500 copies worldwide.
Sleeve designed by Matt Carlson and Eric Mast.
Shelter Press, 2016