During the year I myself fail to cover everything that is released. I just cannot keep up (which is a good thing) and miss a lot too, try as hard as I do to listen. I thought that I would try to recap as many 2019 releases as possible here throughout December, as a way to rectify this.
Anyway here goes. No order, no preference –
I don’t do lists but these were released in 2019-
Thank you for listening : )
I have an aversion to lists.
They create an atmosphere of competition between artists and genres. They also often only plug those releases that are ‘readily’ there in view – easy to find. That is, the artists and/ or labels / PR etc who have the most money and time, often are the ones that get the most focus. Consequently, many female identifying artists don’t even get a look in and /or get overlooked, as proved by the many studies and reports available to prove this fact. I will refer you to female:pressure FACTS and Counting the Music although sadly and even very recently, there are many more studies from Classical to Jazz as well as Electronic, that report the same findings.
Believe me when I say, that there are large numbers of female identifying artists out there. You only have to look.
Of course, during the year I myself fail to cover everything that is released. I just cannot keep up ( which is a good thing) and miss a lot too, try as hard as I do to listen. I thought that I would try to recap as many 2019 releases as possible here throughout December, as a way to rectify this.
Anyway here goes. No order, no preference –
I don’t do lists but these were released in 2019-
Artist: Sofía Bertomeu Title: And you, In which movie are you playing? Keywords: ambient experimental experimental electronicidm lars von trier sofia bertomeu technoglitch Spain And you, In which movie are you playing? I’m playing a fool in a silent black and white slapstick spaghetti western movie that almost hast seen the light of day, but […]
via Sofía Bertomeu – And you, In which movie are you playing? — Yeah I Know It Sucks
As usual, YIKIS have a wonderful off kilter review to go with this release : )
Atmospheric deep listening…
Please do as the reviewer asks and please listen : )
Artist: amby downs
Title: kinjarling studies
Keywords: ambient dark ambient field recordings improvisation soundscape soundtrack Australia
Review by Furchick
https://ambydowns.bandcamp.com/releases
It is rare to have the privilege of listening to art by an Indigenous Australia artist. When I saw that Tahlia Palmer had created some music when I know her as a photographer and visual artist, I got excited. As it turns out my excitement was justified. This music is connected to country and made in a place familiar to the listener. “Amby Downs” is a station (farm) in Southern Queensland where Tahlia’s aboriginal ancestors lived and worked on for a few generations after they were dispossessed of their traditional homelands.
Tahlia’s father’s line is Yuwaalaraay/Gamilliaroi, from the Narran river area of Northern New South Wales. She informs me that connecting with Noongar boodja through these works has afforded her the confidence to go to her ancestral country for the…
View original post 304 more words
Not all drones sound the same…
Ambient, drone, electronic, experimental, neo classical
Electronic, experimental, ambient, drone, electroacoustic, neo-classical
Experimental
“There’s a certain intensity to it, gazing into something too vast to apprehend, but small enough to take in, ”
This review says it all, so nothing to add except its’ sparseness seems to reflect my present mood – undercurents of unease or it could be the falling rain against the window.
Where last year’s Kontrapoetik was furious and direct, Epistasis is passionate and exploratory, structured like an ouroboros that in completing its form comes to both an end and a beginning. One depends on the other, the circularity of this mythical figure not so much an instance of unmoving things but of action and reaction, chains of effects whose relationships are anything but linear.
The “Interlocked Cycles” – the first and last tracks in the album – are thus the setup and the finale, a loop in which every instrument and every note aims for the subtle dissolution of the straight musical line. Like the snow in the cover, an almost White on White composition, the players lay down sheet after sheet of tones that, even when conforming clearly cut sequences, feels like staring into the sky. There’s a certain intensity to it, gazing into something too vast to apprehend, but…
View original post 428 more words
