Artist: Lyndsie Aguire
title: Clair Obscur
keywords: ambient, electronic, field recordings, melodic, piano
label: Time Relesed Soundhttp://timereleasedsound.com/
reviewer: Willem van O.
I was thinking of you, dear visitor of YIKIS. I thought about how much you would like to check out music that you would like. I guess it’s a matter of tastes, so we can’t please everyone; but the release done by Lyndsie Alguire is something that you are free to check out so you will be able to see if the music fits you and your delicate tastes. Checking the album notes makes me aware that Lyndsie Alguire is from Canada and that she is specialized in composing piano works and soundscapes, but this release on its own is rather different to my ears.
It first starts with Lyndsie Alguire’s ‘I was dreaming of you’ which gives way to a dreamy construction that for some reason makes…
When I first came across Mirror Lands via A Closer Listen, I was struck by the sounds and images. Seems I still am and the release of the Deluxe Edition gives me another reason to revisit it.
Review courtesy to A Closer Listen.
One of our favorite field recording works of last year, Mark Lyken and Emma Dove‘s Mirror Lands, is about to get the deluxe treatment from Time Released Sound. Those who missed it last time will have another shot this Sunday! To celebrate the re-release, we’ve slightly edited our initial review to reflect the new edition.
We last encountered Mark Lyken and Emma Dove with their installation-based EP and video The Terrestrial Sea. Their new work expands on that prior release and continues an investigation of the sonic and visual properties of Scotland’s Black Isle. Time Released Sound is presenting the work in two versions: a regular and a deluxe edition. Both editions include the soundtrack and a link to the film, while the deluxe edition includes additional ephemera (shown above): vintage prints, maps and pages from travel books, all honoring the location of the film.
I have previously highlighted Susan Matthews’music, namely Shadow Wraiths and because it is hauntingly lovely I am reposting it together with the newest release.
This month the Sunday Mix is based loosely on the idea of memories and the feeling that can occur of otherworldliness and a kind of a journey that you take, when a memory strikes.
The music reflects that feeling…
I remember
The crackle of the palm trees
Over the mooned white roofs of the town…
The shining town…
And the tender fumbling of the surf
On the sulphur-yellow beaches
As we sat…a little apart…in the close-pressing night.
The moon hung above us like a golden mango,
And the moist air clung to our faces,
Warm and fragrant as the open mouth of a child
And we watched the out-flung sea
Rolling to the purple edge of the world,
Yet ever back upon itself…
As we…
Inadequate night…
And mooned white memory
Of a tropic sea…
How softly it comes up
Like an ungathered lily.
And I gave myself to the poem.
And the poem gave to me.
And I gave myself to the sky.
And the sky gave to me.
And I gave myself to the wind.
And the wind took what I gave
and passed it to the sky.
And I gave myself to women.
And women gave to me.
And I gave myself to the wound.
And the wound gave to me.
And I gave myself to hope.
And hope took what I gave
and passed it to the wound.
And I gave myself to wine.
And wine gave to me.
And I gave myself to candlelight.
And candlelight gave to me.
And I gave myself to memory.
And memory took what I gave
and passed it to candlelight.
And I gave myself to music.
And music gave to me.
And I gave myself to the tree.
And the tree gave to me.
And I gave myself to change.
And change took what I gave
and passed it to the tree.
And I gave myself to silence.
And silence gave to me.
And I gave myself to light.
And light gave to me.
And I gave myself to night.
And night took what I gave
and passed it to the stars.
But with the sentence: “Use your failures for paper.” Meaning, I understood, the backs of failed poems, but also my life. Whose far side I begin now to enter— A book imprinted without seeming season, each blank day bearing on its reverse, in random order, the mad-set type of another. December 12, 1960. April 4, 1981. 13th of August, 1974— Certain words bleed through to the unwritten pages. To call this memory offers no solace. “Even in sleep, the heavy millstones turning.” I do not know where the words come from, what the millstones, where the turning may lead. I, a woman forty-five, beginning to gray at the temples, putting pages of ruined paper into a basket, pulling them out again.
Have followed Felicia Atkinsonfor a while and recommend listening to her work. Have been listening to this collaboration and suggest checking out La Nuit too.
Article and Interview courtesy to Fractured Air.
Interview with Félicia Atkinson & Peter Broderick (La Nuit).
“The words appeared to me like this, I don’t know, I like to improvise lyrics, it’s like day dreaming, you dig in your own soul and see what you can fish there.”
— Félicia Atkinson
Words: Mark Carry, Photographs: Félicia Atkinson
The music of Félicia Atkinson and Peter Broderick both surfaced to my attention around the same space in time, during 2008. John Xela’s Type imprint served the most trusted sources for independent music discoveries and two composers from the label’s roster particularly forged an indelible imprint, namely Peter Broderick and Sylvain Chauveau. ‘Float’s utterly captivating neo-classical-based compositions served a gateway into Broderick’s soaring songbook – that soon would follow with the gifted Portland musician’s ‘Home’ and ‘4-TrackSongs’ full-lengths – and across the years, any project conceived by Broderick (or shares his involvement in any way)…
Less than a month after Anna Thorvaldsdottír’s inclusion on Nordic Affect’s Clockworking, a new collection of her work has been issued. This four-movement work (plus a concluding piece) premiered only a year ago, and is performed by the International Contemporary Ensemble. At the 2014 Reykjavik Arts Festival, a series of breath-activated lights enhanced the experience, while many klakabönd (metallic ornaments known as a bind of ice) were used as percussion. Much of this is apparent in the clip below, but home listeners might imitate the experience through creative lighting and sound-and-motion activated appliances.
Not that any of this is necessary to enjoy the album, a combination of filigree-thin solos and remarkable convergences. Thorvaldsdottír honors both the contributions of the individual performers and their work as an ensemble. At this point, fifteen years and five hundred premieres into their career, ICE’s resume is so long that it causes the…
It’s been some time since I covered an n5MD release. Mike Cadoo’s Oakland based label has been a favorite for over a decade now. So it’s totally my fault for overseeing its releases in 2012. Here’s how it this usually happens. A promo copy from the label lands in my mailbox. I open the package and think, “Aha! Another n5MD CD! This is going to be fantastic! I need to do a label special soon!” Then I carefully place the disc along with other n5MD releases… and there it stays… for months… I suppose that is how I missed out on the latest from Light Out Asia, Crisopa, Asonat, Aerosol, Ex Confusion, Dreissk, Eleventhfloorrecords, Mike Harris, and of course, Dalot.
Well, the good news is that I didn’t completely forget about any of the above, and that a label special is still in…
Artist: Lyndsie Aguire
Feminatronic 
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