Available in 320kbp MP3 or 16bit WAV or FLAC Tracklisting: 1. home there(wound) - 06:002. descend knot bind - 14:013. song of absence - 03:004. song of ache - 04:205. tender ebbs - 05:456. cbttb(attunement) - 04:487. song of seeking - 04:268. ascend thaw gush - 12:359. i forgive you, i forgive me/trust that we are held(womb) - 16:25 sever, split, tearcome back freeze, forget, neglectcome back detach, withdraw, dreamcome back thrash, recall, engulfcome back allow, receive, swellcome back trust trust trust The wound, as the saying goes, is the place where the light enters you. Even without a god though, the sensation of trauma, and the phenomenon of healing can be a sacred and enlightening experience. Experience always imparts something on those of us still here, for worse or for better. It’s this journey, from trauma to healing and understanding, that inspired Andrew Oda’s beautiful new album: Come Back To The Body. More delicate and plaintive than his previous work, but no less adventurous in its broad palette of synthetic and acoustic sounds, this music is the topography of a descent into the wisdom of the body, “as frightening and unsafe as it may feel” as the composer puts it. A sweet piano, a gently plucked guitar, and a mournful cello sit alongside garbled synth melodies, rustling field recordings, and sweeping cosmic backdrops throughout, a mimic of the counterintuitive harmony of sensations that meet the traumatised body. Emotions become deformed and bleed into each other. A ruptured sense of oneself collides with engulfing thickets of tension, and yearning. Come Back To The Body demarcates a new step in Andrew Oda’s catalogue, evolving his previously synthesised sui generis ecosystem mockups, into a more natural reflection of the human self, in light of trauma and unknowable emotions best put into music. Creaking synth chords hove into view on several of Oda’s new pieces, resembling the first rays of dawn and an imminent sense of absolution. A dull electric hum and submersible bass rumble similarly haunts many moments, like lingering tinnitus, only to be swept away by a host of fresh musical lifeforms, sounds, pulse, and melodies wandering spritely into Oda’s music. Healing isn’t simply the forgetting of a trauma; it’s the process of attuning to a wound and evolving into something new. It’s about moving towards a place “where true intimacy can happen,” as Oda describes it. “A place of forgiveness of self and other.” -- Composed by Andrew OdaArtwork by Stephen Alexander ClarkLayout by h5io6i54kBonus artwork by Ádám HorváthMastered by Adam Badí Donoval --- Special thanks to:Landon-for being on this path with me, for everything.Greg-for invaluable insight, encouragement, and guidance.Gita-for being in the waves and sharing your own journey of healing.Kyra-for understanding the wisdom of the body and sharing your practice.Lauren-for your vortex and mirror. Words by Tristan Bath Photography by Zoltan Czakó

Available in 320kbp MP3 or 16bit WAV or FLACTo decay is also to transform. Rusting metal is the visible traces of passing time, as the oxidation process accumulates dampness in our atmosphere and imprints it as unpredictable patterns onto hard iron and steel. Working in construction for a year now, Kensho Nakamura sees rust all the time, clambering up ageing chunks of material. Normally discarded as waste, Nakamura began discerning beauty in the phenomenon, organically spiralling around and consuming some of the very hardest of manufacturing stuffs into unique new forms. ‘Electric Rust’ continues the conceptual electronic composition mode of Nakamura’s previous works with a series of fractured musical dioramas. These scurrying notes, sparse hums, and quivering bleeps explore the topics of rust and the accumulation of time. The music ticks like a clock, drips like a tap, and manifests unknowable inorganic shapes. Recognisable musical snippets of bells, pianos, or murmured voices are buried inside counterintuitive synthetic rhythms and tension. On ‘wet air’ piano notes tinkle and pipes gargle, digital detritus tap dances and arpeggios stumble. On ‘unique faces’, idle marimbas and malfunctioning animalistic squeaks flounder. This is music from the promethean space between being forgotten and being conceived. ‘Electric Rust’ is a topography of a world of rust, where corroding structures evolve into new — and beautiful — patterns of life. --- Composed, recorded and mixed by Kensho Nakamura in 2022Artwork and layout by Madzia ZalewaMastered by Adam Badí DonovalWords by Tristan BathPhotography by Zoltan Czakó

Available in 320kbp MP3 or 16bit WAV or FLAC Tracklisting: 1. Quantic Vision - 03:392. Beat Bot - 01:113. Ellis - 08:104. White as Green - 05:515. Snake in Reverse - 05:306. Plastic Portals - 03:497. Your Hammer Won't Fall Apart - 06:498. Bexar - 09:33 A house is something that is so deeply temporary, yet it can hold so much energy. How do we carry or leave behind those energies while transitioning into new spaces? How does each space we occupy for some time shape us and how do we tear ourselves away from it and its influence once it’s time to go? These are some of the core questions behind CC Sorensen’s new album for mappa, ‘Phantom Rooms’ – it’s a record about movement, change, transformation, family, juxtapositions… but most of all, home. CC Sorensen was reflecting a lot on their childhood home in rural Kansas, USA while working on this music. The album could be characterised by a familial, chamber feel and both of CC Sorensen’s brothers, Ryan and Nyal Ruehlen, make an appearance on ‘Phantom Rooms’, among other instrumentalists. Using a wide palette of sounds – CC Sorensen alone in charge of keyboards, software instruments, voice, electronics, percussion, trumpet, guitar and field recordings, in addition to guests on pedal steel, voice, chimes, saxophone and drumset – the American musician crafts music as mysterious as it is inviting. The idea behind it would be almost surrealist – ghostly rooms in houses where we live – if we all didn’t know exactly what CC Sorensen means. Home isn’t something concrete, but it’s also not just an abstract concept. It’s a space beyond space; home in itself is a phantom room we enter. And what enables us to enter is the object of exploration here. CC Sorensen’s approach is playful – tracks like “Beat Bot” and “Plastic Portals” are almost fun – but also contemplative. They make thoughtful, meandering chamber music intertwined with field recordings and electronics. Reeds, strings and percussion often set the atmosphere – sometimes airy, gentle, at other points more insistent – as the music grapples with departure, instability, deep reflection and imagined future spaces. Especially in the closing “Bexar” there’s a tangible yearning for a stable home, a longing to rekindle and keep ablaze this beautiful familial connection to a physical place. It’s both music that invites to reflect and music that in itself reflects; desires, hopes and dreams. --- CC Sorensen - compositions, keyboards, virtual software instruments, voice, electronics, percussion, trumpet, guitar, field recordings Featured Artists:Damon Dennis - pedal steel (5)Alan Mudd - words & voice (4)Nyal Ruehlen - voice, chimes (3)Ryan Wade Ruehlen - saxophone (4,5,7)Scott Dean Taylor - drumset (5,7) --- Artwork and layout by Seth GrahamMastered by Andrew WeathersWords by Adam Badí DonovalPhotography by Zoltan Czakó

Available in 320kbp MP3 or 16bit WAV or FLAC Tracklisting: 1. a veil - 14:492. the sea - 14:59 --- Recorded, performed, composed, and mixed by Alexandra SpenceIn order of appearance: waves, waterbugs, shells, cymbal, keyboard,clarinet, woodblock, dream, rock, queña, modular synth, hands, taperecording submerged in seawater, tape loops, NI mixer, EMS VCS 3,sine waves, non-definitive list of things in the Pacific Ocean, submerged hydrophone tape loop recordings, ceramic pipes in water, bowed cups, pontoon, blown bottles, submerged tape recording of waves.Artwork and layout by Rania EsstafaMastered by Lawrence EnglishThank you to Mark Vernon and Barry Burns of Radiophrenia Festival in Glasgow – for whom this work began, as a commission under a different name Do jellyfish breathe? Thank you to Jakub Juhás of mappa, Brigitte Hart, Lawrence English, Jan Kucic-Riker, my friends, family, and community.Words by Brigitte HartPhotography by Zoltan CzakóReleased by mappa as MAP034 in 2022mappa.bandcamp.com "wavesI’m not sure if the ocean is our sequestered delirium; feverishly complex, almighty and delicate, irreconcilably teeming with life that we physically cannot co-exist with, or colonise. Effortlessly overpowering to our multicellular selves, yet an accommodating host for even the single-celled amongst us. Ancestral, integral but largely peripheral, a container for consumerist miscellanea and other sinister debris and, most urgently, it is something that needs to be dealt with… later. However, in Alexandra Spence’s listenings, it’s encouraged that you shed your perceived physical dimensions and terrestrial limitations. Let yourself be carried into the slipstream of these vast, poetic ecosystems and enjoy a newfound existence as a fleck or a mote trailing behind a monumental tail. A devotional offering, a careful investigation of form, periphery and weightlessness, of connection and communication. Spence shares a reimagining of ocean strata that buoys and shifts the listener through sonic intimacies and expanses, to dreamt seabeds with distant sunlight, until you eventually find yourself adrift on some opalescent vessel (dimensions unknown, a tiny shell?), refreshed, journeyed and gently forewarned that our oceans are not infinite. dream A Northern Pacific Seastar trespasses blurred borders in semi-deep waters, unaware that it has the reputation of a voracious predator. A territorial Blue Groper continues to gain popularity among bipeds in a local Sydney swimming spot. waterbugs, shells rock, queña A subspecies of the Eastern Blue Groper, the Pacific Red Groper (Achoerodus Rosa), was seen to have made a series of significant biological advancements in response to the proliferation of offshore wind farms, and other environmental factors. Due to the significant noise pollution emitted from these farms, breeding cycles were heavily impacted over generations and the Eastern Blue Groper suffered critically reduced numbers, nearing extinction towards the end of the century. tape recording submerged in seawater Its successors became capable of both sound absorption and diffusion due to a thickening of the inner layer dermis, unique patterns in scale growth, and a protracted caudal (tail) fin. It’s understood that the ecological impacts during the Global Temperature Events era also resulted in another reactionary response, and subsequent speciation*. Until this era, no example of large metamorphic water bodies had been positively identified, and it is believed that the Pacific Red Groper strategically adopted its flushed red appearance in order to mimic the extreme colour deviation of Australian coastal waters.*The formation of new and distinct species. a veil, the sea The Pacific Ocean as a home - not only to marine creatures and sea currents - but to the obscure movements of global trade, offshore data barges, and sunken satellites deactivated and dumped from space. Vast bodies may seem infinite, but nothing is - the depths hold mysterious, beautiful, and troubling things.Sunken satellites, deactivated and dumped from space.Bottlenose dolphins, ancient artefacts, Lego pieces, approximately 36 species of shark, underwater mines…a non-definitive list of things found in the Pacific Ocean ceramic pipes in water, bowed cups pontoon Shore, kit,skipper, school,dock, deck,buoy, freight; Dutch maritime words from 16th C trade routes.Obscure movements of global trade.Offshore data barges.Gasbubbles in seawater scatter sound.The sound emitted by bubbles by the breaking waves of the ocean helps track atmospheric carbon transfer between the ocean and the air. Bubbles can also be used to predict sounds of liquid methane lakes on Saturn’s moon,Titan.Unequal forms; breath with wave, fish with fishing lineblown bottles, submerged tape recording of waves, handssubmerged hydrophone tape loop recordings…and, do jellyfish breathe?" - Brigette Hart ---

Available in 320kbp MP3 or 16bit FLAC Johannes Schebler's musical output is all about establishing a dreamlike territory where sonic settlements can spread at ease. While Grykë Pyje (Johannes Schebler's duo with Jani Hirvonen) presents musical landscapes as open and clear spaces, Baldruin's miniature pieces tend to narrow them down, zooming into domestic sceneries that shift like malleable rooms inside a magic building. These are the quarters where the inhabitants of Schebler's musical world are configured. Rendered in a tender manner, the tunes in Kleine Freuden (in English: small joys) unfold like a collection of fairy tales and bedtime stories. Fables and lullabies performed in whispering tones seem to carry us through a child's dream where images blend into each other. Compact, yet gauzy and free flowing melodies gather up revealing an ensemble of households where fanciful entities play care freely, leading us along their musical maze. The music is placid, childlike and playful. It wanders around in unwavering estrangement, organizing an unprecedented and intimate space as seen from a bird's eye view. In the landscape of a bedroom where the night lamp is the sun, we take part in a lively journey, as wonder is warrant and keeper of a warm and pristine environment. Perspective shifts as we rise from bed sheet folds that turn into fragile mountain ranges. We crawl behind furniture and take shelter in secret hideouts while dust falls upon us like a blizzard. Transfiguring notions of scale and time, we are left wondering how long have we been here, wondering if music is the only true measurement of time.  --- Recorded in Wiesbaden, Germany in 2019 and 2020 by Johannes ScheblerArtwork and layout by Johannes ScheblerMastered by Pentti DassumWords by José Badía BernerPhotography by Zoltan Czakó

Available as a 320k MP3 or 16bit FLAC   Tracklisting: 1. Keruu - 05:032. Lämpö - 05:143. Naapurista kuuluu lattian natinaa - 07:054. Kahleet - 03:445. Muna muuttaa - 04:336. Yksin yöllä - 06:057. Kurki - 06:098. Olen oluen oljen - 03:17 The Dalmarnock Tapes is a collection of previously unreleased tracks by Cucina Povera. They were recorded in 2017 during snowstorm flurries in Dalmarnock, in the east end of Glasgow, Scotland. Cucina Povera is the alias of the Glasgow-based sound artist Maria Rossi, who is originally from Finnish Karelia, the European region that borders Finland and Russia. Cucina povera refers to a style of southern Italian traditional cooking evolved out of precarity and making do. Rossi’s music shares that same ethos of simplicity. Her experimentations with voice and field recordings create gossamer loops – heavenly repetitions and soporific undulations; an utterly sublime and ethereal language that is all her own. This new series features stunning, celestial vocalisations from Rossi over eight tracks. The recordings were made in the dark, winter months when she was briefly renting a very cheap, rundown studio space in a damp, old warehouse in Dalmarnock. She made it there every day despite bad heating in the building. The snow piled high that year. It was also a period in Rossi’s life when she was moving house every couple of months. The tracks reflect that mildly disturbed and displaced feeling, with a sense of aloneness at their core. Layering her own harmonies to create a mystical solo choir, Rossi builds an echoey wash of soft sound, using her dreamlike voice as the main instrument and Finnish as the main language. They are spontaneous vocalisations, recorded on the cuff, riffing on a very simple idea or pair of words, such as ‘I hear the floor creaking next door’ or ‘Alone at night’. Her stripped back, ultra soothing meditations take on an almost spiritual quality, ebbing and flowing in waves of warmth and purity. The lapping, lilting motion of her cycles of song has a gentle, comforting quality despite the sense of isolation that inspired them. Hypnotic shimmers of sound wrap around rhythmic samples of clanking metal in ‘Kahleet’ (‘Shackles’’) creating a ritualistic or ceremonial feel. Elsewhere in ‘Yksin yöllä’ (‘Alone at Night’), her gentle refrains become an otherworldly lullaby. Much like simple Italian cooking, the minimalist approach generates powerful results, distilled with depth and intensity. --- Eight previously unreleased tracks recorded among 2017 snowstorm flurries in Dalmarnock, Scotland.Music, recorded and mixed by Cucina Poveracucinapovera.bandcamp.comCover by Krzysztof Marczakinstagram.com/ycszwText design by Awe Ixquantumnatives.comMastered by Adam Badí Donovalabdonoval.comWords by Claire Sawersclairesawers.comCassette photography by Zoltan Czakó

Available as a 320k MP3 or 16bit FLAC   Tracklisting: 1. Dome - 12:402. Dome Extension - 05:563. Frood - 05:184. Khartum - 05:555. Silver Centre - 14:186. Vroomanton - 07:547. Newfoundout - 11:51 --- I hear Brazilian singers.Clearly.And clearly they are not there.The music seems convinced of the presence of Brazilian singers.That was my first coherent thought after listening to NewfoundoutNow.And clearly.In what must be a profound list of instruments or sound sources heard on this record,I doubt we will find Milton Nascimento, Nana Caymmi, or Maria Bethânia.I hallucinated them.Clearly.Because hallucinations are clear.And there is a lot of hallucinating going on here.The music hallucinates itself.And leaves space for us to hallucinate along with it.The instruments play, and they play wildly, in a state of hallucination.The music slides in a slow and light state of relocation.This is a balade.And as we sway we may notice things, they may come to us,often only for mere seconds before evaporating in a clear decay.The hallucination is the space in between us and the music.The space, ever-modulating, of the encounter itself.An encounter constantly and slowly composing and decomposing,forming and deforming and sensually blurring the lines in between.A clear haze. The music guts and lushes without rising or falling.This is not an orchestraThis is not a paragraph.A bordel of instruments.Clumps of moss.Stretched out like rubber bands.They sway.Flat on the ground.Hanging under a tree.A band in a hammock.In the grass.They are squatting in the heat.This music thinks birds sing just for joy.A radical obedience of joy.There is a rub.This is some kind of rubbing music.Everything breaths here.KhartumTropical lungs. Steamy courtyard. A clear sweetnighter. - Eric Chenaux Over the last decade, Toronto-based composer Nick Storring has become well known for his unique, painstaking compositional style of layering performances on a plethora of objects and musical/electro-mechanical instruments to deeply moving effect. ‘Newfoundout’, his seventh album, follows last year’s lush and nocturnal ‘My Magic Dreams Have Lost Their Spell’ (Orange Milk Records) with more rhythmical material and an almost theatrical, phantasmal sensibility. The music here doesn’t just evoke imagined landscapes or unique sonic worlds, but it seems to be toying with the idea of a protagonist or a narrative. The pieces move with intent, unravelling in their course moving tales, haunting ancient stories and whispered rumours. There is an underlying aura of mystery and ghostliness which is also reflected in the track titles: all are named after ghost towns around Ontario, Canada. ‘Newfoundout’ is a truly fascinating new entry in Storring’s discography; one which not only highlights his strengths and refines his approach, but also showcases the breadth of his vision. It’s an album where hyperrealism meets psychedelia, where strange dreams meet cinematic grandeur. - Adam Badi Donoval --- All selections are named after ghost towns around Ontario, Canada.Dome is dedicated to the memory of Noah CreshevskyComposed, performed, recorded, produced, and mastered by Nick Storring using acoustic and electromechanical instruments/ treatments, and only the minimum of effects processing.nickstorring.caPhotography by Nick StorringArtwork and layout by Richard Čechoinstagram.com/riko_ceko/Words by Eric Chenaux and Adam Badí Donovalericchenaux.comabdonoval.comSpecial thanks to: Nathalia Sanches, Colin Fisher, Katrina Orlowski, Yvonne Ng, Peter Hatch, Noah Creshevsky, Seth Graham, Keith Rankin, Jakub Juhás / mappa, and John Farah (for the continued use of his Rhodes and Pianet).

Available as a 320k MP3 or 16bit FLAC   Tracklisting: 1. Schism 19:452. Eremozoic 14:35 "Stumbling into the Age of Loneliness I carry cloudy glass bottles to the edge of the Pacific. After 100 years in dirt beneath San Francisco they breathe fresh ocean air, fill with the energy of breaking waves. Microphones inside, ear to conch, I hear shadows: scurrying, wing flaps, chirps and chatters, whimpers and bellows. So many creatures, once emerged from the sea, now gone. How many vessels would the disappeared fill? What is the weight of a lost species? I make an offering of listening to help me carry all these ghosts we made." ⟶ Cheryl Leonard Life through the computer. We all have had to grapple with it over the past year, as we attempt to wring as much meaning, intimacy, experience and variety as we can from our shiny boxes of electronics. Concerts, plays, ballet, meetings, dates, dinners, coffees and conferences all became just a click away. Some of us cocooned ourselves in soundscapes lost, from old streams from noisy bars, to recordings of natural locations we could no longer get to. It was by turns revelatory, empty, full, sad and comforting. In Schism’s title track Cheryl E. Leonard treats us to her own imaginings of the world within her laptop; a pulsating, flickering, stuttering morass of coil pick up recordings, set amid the co-mingling of crickets, squirrels, birds, bats, and sounds played on natural-object instruments. She asks: “What does it mean when our mediating technologies have both the power to connect us to and distance us from the ecosystems we are part of?” Certainly this is a question which predates the pandemic, but it is one which we grapple with now with a set of new knowledges which speak to both the possibilities, and the shortcomings of a life lived digitally.In addition to her laptop recordings Leonard also turns to mics placed inside bottles to render the second piece on this release, Eremozoic. In the context this simple gesture takes on new resonances; a separation, enclosure, limitation which captures and reverberates particular tones, while missing others entirely. When I think of the computer in this era, I think of it like this, it exists as both echo chamber and conversation; alienation and hope. I think many of us have felt the last year, a little like life was lived inside a bottle. With this release Leonard reminds us of what we lost during the pandemic, but more profoundly what we might lose more permanently as we continue into the climate crisis. - Kate Carr --- Composed, performed, and recorded by Cheryl E. Leonard Mastered by Thomas Dimuzio at Gench Studios   Liner Notes by Cheryl E. Leonard Words by Kate Carr  Artwork and design by Juliána Chomová  Stone composition and photography by Ester Sabik  Risograph print by Kudla Press  Photography by Zoltán Czakó Dedicated to Patty Chen-Wei Liu Released by mappa as MAP026 in 2021

Tracklisting: 1. A cook cooked a lovely porridge2. Materina dúška 3. Sing for myself 4. Cuckoo is cooing, lifeless in a world of miseryVery special release from filmmaker Lucia Nimcová and sound artist Sholto Dobie. Highly reccomended.  --- "I first discovered khroniky – Ukranian folk songs – in the Highlands of Scotland. I was watching a screening of Bajka, a mesmerising documentary made by the filmmaker Lucia Nimcová and sound artist Sholto Dobie. I knew nothing about these ballads beforehand, but I was fascinated by these odd, beautiful songs, especially the easy way in which they mixed misery and levity, where gentle melodies blend with tales of dark violence. The folk songs describe hardship, murder, torture, death in gulags, heavy drinking, outsmarting men, love affairs. But they’re often very funny too – many of the songs make fun of marriage, and there’s an amazing subcategory of khroniky songs called potka (vagina) songs.The khroniky have never been properly documented because they were considered too crude, or contained lyrics that were problematic, politically. When Ukrainian folk songs have been archived in the past, it’s normally a sanitised, more polite version of the ones that Lucia remembers from her childhood. Lucia grew up on the other side of the Ukrainian border in Slovakia. She is part of the Rusyn (Ruthenian) minority ethnic group found in the borderlands of Slovakia, Hungary, Romania, Ukraine and Poland. Rusyn is a centuries-old Slavic language, looked down upon as a poor, uneducated dialect by the neighbouring Ukraine and Slovakia. It was forbidden to talk about Rusyn culture at Nimcova’s primary school, but the khroniky stayed in her memories.“I remember weddings when I was young,” says Lucia, who now lives in Addis Abeba, Ethiopia. “At the end of the night, when everyone was drunk and the young couple would go around their guests, people would sing in Rusyn. There was singing and dancing, and songs about being in prison or falling in love. I picked up the lyrics and sometimes my mum would make my sister and I sing them for people we met on the train. I was about five or six but the lyrics still come back when I sing to my kids.”Determined that these rich, nuanced, unique songs shouldn’t be forgotten, she decided to record them. Over two years, Lucia, joined by experimental musician Sholto Dobie, visited Rusyn villages high in the Carpathian mountains to rediscover the songs and make the documentary. It was at the beginning of war breaking out in Ukraine in 2014.“The Rusyn community is a very closed one,” explains Lucia. “Sometimes we’d have to wait several days to hear someone sing; we had to earn their trust before they shared something very personal to them. We’d stay up ‘til 5am at a wedding, then go straight to a morning baptism, or collect haystacks with the villagers, hoping they’d sing while they were working.”DILO is named after an important independent Ukrainian daily newspaper that was shut down when the Red Army entered Lviv in 1939. The four long tracks on DILO blur field recordings with song; an unpolished, privileged glimpse into a private world. We hear dogs barking and insects buzzing in the summer heat, then a blast of hurdy gurdy or violin will drift in, or a plaintive song soars softly over the rural background noise, with casually harrowing lyrics about a cuckoo, “lifeless in a world of misery”, as translated in the album’s booklet.For both Lucia and Sholto, it was important not to tamper too much with what they heard. “When you think about ethnography,” Lucia explains, “you have to have a lot of time, love and respect to document it with sensitivity.”“The songs all have their own atmosphere and intimacy from the spaces they were recorded in and it was important to maintain these particularities and move with them,” adds Sholto, who now lives in Vilnius, Lithuania. “They guide and sometimes interrupt a journey between interiors – domestic spaces; in kitchens, by the fire – and exteriors; marketplaces, cow sheds. We used contact microphones to record metal bridges and fences, and we spent one afternoon recording a wool processing machine, the details of the rattling and tuning wheels are the ground layer for the third track.”Lucia took rough notes and diary entries during the recording process, which are now shared in the booklet alongside a selection of lyrics, loosely translated, but revealing the depth and astonishing beauty that sometimes lies in the language of these folk songs.The feel of the album is intimate, flipping between laughter, where a woman sings about selling her pussy to buy a cow in one track, then shifts to a raw, painful truth; an adult son asks his mother why his dad won’t be back for dinner, as he’s gone to war.Since Lucia and Sholto began working together in 2014, they have shared the audio recordings on radio and film and shown photos in gallery spaces, making sure these special, smutty, poignant songs don’t get lost. This new record and booklet joins that same continuum, another glorious fruit from the same rare tree. " ---- Concept, photography, notes, and research by Lucia Nimcováwww.luco.skRecorded and mixed by Sholto Dobiesoundcloud.com/sholtodobieDesign by Ondrej Jóbwww.setuptype.comMastered by Tomáš Vtípil / dinn (dinn is not noise)www.vtipil.czWords by Claire Sawersclairesawers.comPhotography by Lukáš Rohárikbit.ly/2QT4r49Released by mappa as MAP025 in 2021This project has been supported using public funds provided by Slovak Arts Council.

Available as a 320k MP3 or 16bit FLAC   Tracklisting: 1. damp grale - 02:152. claspt halve - 04:043. compost - 01:254. onseen crest - 04:035. cradle mith - 03:556. moltin pistil - 04:237. cold clus - 04:078. 2 skies in mith - 04:52 ‘face first in the entangled’ is Infant’s illustration of the “organic internet” between different lifeforms built by mushrooms. These mycological structures see wild fungi coordinating and operating in a decentralized yet organized fashion, leading to dramatic ‘social changes’ without the need for leaders. The music follows a similar path, with Detroit-based Patrick Miller working over a year-and-a-half to forge a mimic of such systems, eschewing lead elements in favor of co-mingling patches of sound. The role of composer is reframed here, Infant regressing to a more passive position as listener within the chain that led to the dense and untamed beauty of ‘face first in the entangled’. The process turned crude granular synth freeware into showering spores, vocal improvisations into near-unrecognisable murmurs, and field recordings and drum programmes into a distant pulse. The sonic elements at play swim around one and other and freely-associate, forming “micro-dramas” as the artist puts it, with each element playing a different, mutating part. The networked tangle of sounds adheres to its own inner-logic, pricking the sonic field, turning composted samples into a blooming forest floor littered with unexpected moments of shimmering denouement. The work was inspired by writers like Ursula K. Le Guin or Anna Tsing, both of whom sought to reject traditional hero narratives. The latter’s “The Mushroom at the end of the World” describes the foraging of prized matsutake mushrooms on forest floors worldwide, untamable by humans, and reliant on its symbiotic relationship with tree roots. The symbiosis of sounds Infant captures on ‘face first in the entangled’ reflects such organic structures, where the world is forged by an unknowable network of biological processes, rather than any one being. --- Music by Infantinfaaant.bandcamp.cominstagram.com/infantinfantinfant/Cover and photos by InfantMastered by Adam Badí Donovalabdonoval.comWords by Tristan Bathtristanbath.comPhotography by Leontína Berkováleontinaberkova.com

Available as a 320k MP3 or 16bit FLAC    Tracklisting: 1. I - 30:002. II - 30:00 As a project, Line Gate has been undergoing a slow, steady transformation, much like the longform drone works that have come to characterise it. What began as a band in 2010 and most recently surfaced as a solitary hurdy-gurdy resonance on 'Den' in 2017 has now flourished into ‘Apex’, Michal Vaľko’s latest album. 'Apex', simultaneously an album about perceiving the beauty around us, about sacredness, and a meditation on a state of timelessness and seeming non-action, is divided into two 30-minute pieces.The gently modulating drone of the hurdy-gurdy remains present during the first piece, along with its very characteristic (almost psychedelic) resonances and overtones. However, the listener's ear is almost immediately drawn to another sound source - the human voice. 'Apex I' presents an interplay between these two instruments, which, strangely enough, are positioned in a similar space on the frequency spectrum. The result is a mind-bending interplay between the hurdy-gurdy and the voice; one weaving around the other in seemingly indeterminable patterns.'Apex II' takes Vaľko’s explorations of the human voice even further: the hurdy-gurdy is withdrawn. Layers of voice, some processed, some raw, are the only building block here. A resonant layer of sampled voice, not dissimilar from the hurdy-gurdy, acts as an unstable, shifting sonic bed around which a gradually growing choir of voices orbits endlessly. Sibilants, consonants and vowels recited in mantra-like cycles form a non-linguistic vocal tapestry, one without explicit meaning, but imbued with huge emotional gravity and a unique enchanting quality.

Available as a 320k MP3 or 16bit FLAC   Tracklisting: 1. Sotto / Spirit - 27:002. Enfold - 13:19 ‘Sotto’ is Andrew Oda’s attempt at world building in sound. Meshing method, mind, metaphysical and mundane into massive murals, its triptych of vivid compositions seem to wield electronic sound like a magic paintbrush. Inspired by the paintings of Otto Marseus van Schrieck, Ljubomir Popović, and Nicole Duennebier, ‘Sotto’’s three parts inhabit environments bursting with explosive internal ecologies of synthesized pulsations, yawning drones, tinkling imaginary chimes, and abstract noisy rumblings that flow, ebb and breathe with the infinite complexity cognition meshing with the chaotic order of natural greenery. Side A’s two pieces – ’Sotto’ and ‘Spirit’ – are both only made up of synthetic sound, created via computer and other synthesizing methods. The spark came from an attempt to show the process of creation, life and the final union through sonic means, spiralling into a dense lattice of lifeforms, spirits, and objects realised in sound. “The original goal of the project was to convey the idea of this sound visualization for creatures and textures that are fluid, tangled and morphing into and around each other,” explains Oda. While imagination and spirit are the subjects of the first two pieces, the final piece of the triptych, ‘Enfold’, emerges into a luscious and staggeringly beautiful material world. Oda turns here to acoustic recordings made in the field, as well as pianos, bells, and flute (performed by Susannah Oda), layering the results into the trembling organic soundscape suggested by Jonáš Gruska’s cover photography. The entirety of ‘Sotto’ is a living and vivid sound world of Oda’s creation – the first in a pegged trilogy of triptychs – brimming with beauty in which to wander and bask.  --- Side A contains only sound synthesisSide B contains field recordings, piano, bells, as well as flute recordings from Susannah OdaSOTTO was made in Indiana, California and Virginia from 2018-2020Cover and photos by Jonáš Gruskainstagram.com/jonas.gruska/Mastered by Adam Badí Donovalabdonoval.comWords by Tristan Bathtristanbath.comPhotography by Leontína Berkováleontinaberkova.com

Available as a 320k MP3 or 16bit FLAC   Tracklisting: 1. Let the night perish 17:23 2. Who can from joy refrain? 14:41 Among the musicians whose work closely reflects the reduced forms in experimental music, perhaps the most interesting is Cristián Alvear, a Chilean guitarist performing formally radical post-Cagean music, as well as Laurent Peter aka d'incise, a composer, multi-instrumentalist and producer, one of the key figures of the eclectic scene in Geneva. The numerous projects in which they participate prove their strictly defined artistic vision and active involvement in networking the music community, so it’s appropriate to consider them as transitory elements between several scenes on different continents. They have collaborated, among others, with Ryoko Akama, Cyril Bondi, Michael Pisaro, Sarah Hennies, Seijiro Murayama, Taku Sugimoto, Lance Austin Olsen and The Pitch.Bow Down Thine Ear, I Bring You Glad Tidings is a good example of the refinement of the style developed by Alvear and d’incise in recent years. One can observe here how their musical language and range of instrumental techniques in the use of guitar and idiophones got crystallised.The classical form of a musical piece organized in time and characterized by a set of elements that create a coherent narrative is replaced here by the primacy of repetition, pitch, precise articulation and reverberation. Sounds seem to be clearly rooted in specific acoustic spaces, which allows the space itself to be treated as a real instrument that adds another layer of meaning. Repetitive sound sequences operate in a similar way to the metronome, determining an obsessive rhythmic pattern, a kind of matrix on which all the details are inscribed. The static structure of the pieces allows the music to function as a sound sculpture - breaking time constraints in favour of continuous duration and acting in a multi-perspective way. This material, does not promise any solution, but strictly accompanies the listener and tries to close itself in the continuous present.At the same time Bow Down Thine Ear, I Bring You Glad Tidings is a clear dialogue with the work of Henry Purcell. The title of the album is a reference to the anthems written by the British composer (Z11, Z2) and the titles of the pieces refer to his sacred songs (Z192, Z342). Apart from a skillful attempt to decontextualize the lyrics (biblical or rooted in the tradition of baroque religious poetry), we can see here not so much an attempt to give the music a metaphysical character, but certainly Alvear and d’incise tend to replicate a similar mode of listening, as in the case of Purcell's compositions - meditative and at the same time oriented to all elements of the musical situation.  --- Cristián Alvear / guitard'incise / percussion (2 series of "tuned objects"), post-processings recorded in a different space ---Recorded at Insub.studio, Geneva, May 2019Processings recorded at La Senne, Bruxelles, May & September 2019Edited & mixed by d’inciseCover art by Nick Hoffmanpilgrimtalk.bandcamp.comMastered by Adam Badí Donovalabdonoval.comWords by Paweł Szroniakrozkurz.tumblr.comPhotography by Leontína Berkováleontinaberkova.com

Available as a 320k MP3 or 16bit FLAC   Tracklisting: 1. Time flys - 02:582. Cyborg bugs - 04:093. Double-headed emu - 08:174. Muku Tree - 11:185. Pathways - 03:14 Somewhere between the buzzing Cyborg bugs and the whistling of extinct birds. Welcome to the hybrid zoo built on the ruins of the biotic crisis. You can explore the chirping, singing and trilling of birds and insects, which you know from pictures of cryptozoological encyclopedias or go straight to synthetic ornithology, where you can listen to mutated biorhythms. Everyone knows Mockingjay call, but who heard the voice of the Double-headed emu or the rustle of invisible community living in the crown of the Muku tree? Felicity Mangan is an Australian sound artist, composer and an attentive listener based in Berlin. She plays her found native Australian wildlife archive and other field recordings, either through a stereophonic system or often via hand-made speakers and found objects – exploring the timbre and forms of found and self-recorded animal voices while mimicking biophonic patterns to create minimal quasi-bioacoustic environments. "Tracks on Creepy Crawly were made between 2017-19. Samples were taken from found animal sounds and field recordings made in Berlin and trips to Japan and Australia.Some of the material was played live along side my collaborators in duo projects Native Instrument (Shelter Press, Entr'acte) and Plants and Animalia." Five compositions are perfect gateway to the Mangan archive, which is rather embedded aural illusion- speculative echo of spieces than a reproduction of rural soundscape. Felicity has presented projects in many different settings from galleries, gardens, clubs and festivals throughout Europe. Including National Gallery Denmark, Technosphärenklänge CTM/HKW and Sonic Act Academy.

Tracklisting: 1. Danuška, Danuška Radkovič - 18:56 2. Skládám písničky - 4:40 3. Neubližte koňům - 8:22 4. Kijo veri jel zamorin - 7:36 "The joyful, tender, almost too tender, but at times extremely intense album entitled Televize was made by the inflamed, wholly focused, at times completely scattered, dissipated and organically chaotic ensemble called the Roman Radkovič Collective. It throws at the listener a threshold music and a poetic experience of the world.If one record can mediate otherness, a music which can never be imagined without first-hand experience, it is the LP with the magical title Televize. It sounds like a gargantuan musical belly which can swallow anything, churn it, mix it and eject it back into the world in unexpected constructs. These are full of broken rhythms, dense layers of sound, disfigured melodies, chants, recitations, hectic yelps and urgent tidings, while showing occasional glimpses of precious lines of melody. Although it may seem that the main logic behind all the output of the Roman Radkovič Collective can be found in extensivity, a total surf on noise, free and grotesque pop-cultural soundscapes (we hear bits of classy Czech evergreens like Czech anthem, Zaľúbil sa chlapec, Yellow Submarine, Když jsem šel z Hradišťa, but also various confessions, laments, art brut poems, expressions of absolute spontaneity, imagination and boundlessness), after repeated listening the intensity of the protagonists shines through. Intensity in the sense of a measured deepening of the internal need to express oneself, to circle around the obsessively loved topics, texts, their heroes and loves.But screw all the trajectories of relations and discursive constructs, there are no similar records in the world, maybe with the exception of Schlingensief’s project Freak Stars 3000 with its similarly excited and possessed big band. The motto is: prophecy, joy, noise, only good things to the good, everything to everything and, most importantly, density embodied. Density which is intoxicating like Koulelo se koulelo červené jablíčko. There must be much of everything and it must go all the way and never fall short.This album is the funnel of the world. Televize will glut and mesmerize you. All power to imagination! Don’t search for idioms, wage death on virtuosity, let yourself be flooded by the breached dams of joy and consciousness." --- Roman Radkovič / guitar, voiceJosef Novák / keyboardJiří Šíla / accordionZdeněk Řihošek / harmonica, double bassZdeněk Caha / drums, voiceMiloš Šandera / percussions ---Construced by Roman Radkovič Collective (Roman Radkovič, Josef Novák, Jiří Šíla, Zdeněk Řihošek, Zdeněk Caha, Miloš Šandera), Tomáš Vtípil, Ladislav "Mirvis" Mirvald, Filip Johánek, Ladislav Soukup, Kristína Soukupová, Ján SolčániMixed, recorded and mastered by Tomáš Vtípil / dinn (dinn is not noise)vtipil.czDesign by Deep Throat Studiowww.deeeeeeeeeeeeeeeeeeeeepthroat.itVideo by Katarína Jonisováyoutube.com/watch?v=x89xVO6k3j4&t;Photography by Leontína Berkováleontinaberkova.comReleased by mappa as MAP017 in 2020

Tracklisting: 1. Pihapuu - 5:00 2. Pysähtynyt vesi - 1:55 3. Tähtitaivas täkkinä - 7:01 4. Ontot luut - 3:51 5. Mustikoita ja kissankelloja - 4:48 6. Hehkuva maja - 7:02 7. Syvenevä vihreä - 3:25 "From the crystalline sources of the stony rivers through the waves of 5G networks to the blood stream of yellow plasma. Mustikoita ja kissankelloja is like a chaotic sonic sedimentation of new weird Finland music revitalised and flowing through different waste channels, protected habitats and clogged veins. You can scan the microview and listen to the pointillistic murmur on a petri dish or try to stalk the tectonic movements.Do you remember the pure electronic ocean of the Pacific Tubular Waves created by Michel Redolfi in 1980? Take Redolfi's water music, pour it into the electron–positron collider, and use Olli Aarni's nanoscopic microphone. You'll find a frenetic mix of trembling static, singing bacteria, thermal bubbles, crinkling fossils, buzzing signals and crackling glaciers – all teeming on unseen wavelengths.The result is a living matter: soundscapes recorded in humid forests, endlessly mutating patterns, and warm ambient evaporating from various well-known electroacoustic studios."  --- 2016–2019Vaatekomero, VantaaElektronmusikstudion, StockholmQ-O2, BrusselsWorm/Klangendum studio, RotterdamMusic by Olli Aarniolliaarni.bandcamp.comVideo by Olli Aarniyoutube.com/watch?v=ztyEdc6qNfoCover art by Heta Bilaletdinhetabilaletdin.weebly.comMastered by Pentti DassumPhotography by Leontína Berkováleontinaberkova.comThanks toMusiikinedistämissäätiöSamuel Huberin TaidesäätiöEMS Stockholm & Worm / Klangendum Q-02

Available as a 320k MP3 or 24bit FLAC download "Sarah Hughes’ poetics are fully part of the “magnetic song” of sound art properly so called: it may appear to be the simplest music in the world, but maintaining such control over the various acoustic sources, adding only and exclusively the essentials, is a proof of artistic maturity and humility that only a truly sensitive listener can recognize and appreciate." - Esoteros.net "Panelák. Fenced square garden at the entrance. Tree limbs, dried skin of snake, snails with cracked shells. Once upon a time there were plants. Soaked orange peel in front of the door. Buzzing of door bells. Elevator drone. You count the floors while you follow the picture instructions. Capacity and weight of three-dimensional space. You are entering the apartment. Horseshoe above the door. A wooden mask next to a whistling kettle. Seashells in plastic box. Phantom signal. Sheep fur on the couch. You straighten out all the folds. Mute TV. Documentary program- wolves, octopus, worms and a shark. Clock metronome. One minute, two minutes, twenty-seven minutes. 60% polyester pyjamas. Brain-shaped smog behind the window. Smoke, dust or just fog. You put wax in one ear, cotton in the other. I love this city and its outlying lands. My romantic landscape.Sarah Hughes’ multidisciplinary arts practice, comprising composition, performance, curating and installation, revolves around the relationship between social and environmental systems of cooperation. The work draws from various contexts including ecology, feminist politics, alternative economies, land use, and protest in order to explore speculative systems of organisation and collaboration as the ground for social change.Hughes’s work has been exhibited and performed internationally, including at South London Gallery, Punt WG Amsterdam, Cass Sculpture Foundation, Supplement, and Modern Art Oxford. Her compositions have been performed by various ensembles and at various festivals including London Contemporary Music Festival, Music We'd Like To Hear, and Huddersfield Contemporary Music Festival. Realisations of her compositions have been published by Another Timbre, Suppedaneum, Melange Editions, and Consumer Waste, and broadcast on the BBC." --- Composed and performed by Sarah HughesFor zither, piano, Hammond organ, sine tones, white noise, electric harpsichord and objects.Written in response to the work of Fernand Léger First performed at an exhibition of his work at the Musée des Beaux-Arts de Nantes --- Recorded by Patrick Farmer at SARU studios, 2017, OxfordThe recording was supported Sound and Music and Oxford Brookes UniversityArtwork by Andrea Šafaříková (andreasafarikova.com)Risograph print by HIBERNANT.NET

Available as a 320k MP3 or 24bit FLAC download It is raw material rather than tool. Polished metal body or beslavered tube. Just tenor sax at the end of its pilgrimage. It is sculptural object - assemblage without original function rather than a museum artefact of musical viruosity. Heavy metals flowing through the sewer from the concert hall. Small scrap dried by sunlights. Bubbling, squealing and rustling. Circular breathing - as if you have been blowing glass. Objects shaped by breath. Sébastien Branche as a sculptor and a bricolier. Sébastien plays soprano, tenor and C-melody saxophones. He got started with improvisation through workshops with musicians coming from contemporary jazz or improvised music.Interested in perceptive phenomenons, he works mainly with sound as a material, describing himself as a “sound crafter”. His interests also extends to body and space, as he regularly confronts his practice to contemporary dance, soundart, through collaborations mainly with photographer Diane Martinot and music and technology, through the use of programming language Supercollider. Based in Leipzig, Germany since 2015, he is an active member of the blooming local scene. --- "Augmented Saxophone Solo" Performed by Sébastien Branche Recorded at Neue Musik Leipzig by Sébastien Branche Artwork and risograph print by HIBERNANT.NET