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Drone / Ambient
Outsider / Art Brut
Label based in southern Slovakia with a particular interest in the physicalities of sound.
"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
Olli Aarni – Mustikoita ja kissankelloja
"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&tPhotography by Leontína Berkováleontinaberkova.comReleased by mappa as MAP017 in 2020
Roman Radkovič Collective – Televize
"Jani Hirvonen (Uton) and Johannes Schebler (Baldruin) reconstruct the mesmerizing world of the Grykë Pyje swamp tribe. Vinyl in your hands is a ceremonial sonification of the sacred herbarium, painted myths of the animal kingdom and voices behind the thicket.
A return to the time when the forests, tree crowns, soil, thickets and heaven were full of continuous murmur. Or, on the contrary, a vision of a future in which the chaos of natural noises will reign. Slimy earthworms and phosphorescent bugs crawl out of the holes and gaze toward the sky. Brightly colored birds pick juicy fruits and there is no silence, because it is absorbed by the buzz of a virgin ecosystem. In the caves, marshes and hollows of trees, the most important questions are decided. A polyrhythmic rain falls from the sky and washes the prehistoric mud from mammalian hair. Somewhere to see human footprints, but those who have left them are long hidden under giant leaves. The light, reflected from the vibrant structure of life itself, dances for all, in full color. The feast of photosynthesis. Nothing to see from the top. Plants, moss and mushrooms grow at a tremendous rate. They climb each other to break through the lush green blanket. And above all, the orange disc shines pleasantly."
All tracks recorded in Turku (Finland) and Wiesbaden (Germany) by Jani Hirvonen and Johannes Schebler in 2018 & 2019
Cover Art: "Encounter", 2019 by Mevlana Lipp & Gallery KUK Colognemevlana-lipp.com
Mastered by Pentti Dassum
Thanks to Jakub Juhás
Grykë Pyje – Collision And Coalescence
"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
Sarah Hughes – I love this city
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
Sébastien Branche – Lignes de Fuite
“Orienting Response was written specifically for Cristian Alvear at his request. In writing the piece I wanted to see if I could create the same kind of focus and intensity I have created with percussion instruments using an instrument (the nylon stringed guitar) that is naturally not well-equipped to produce the type of timbres or high dynamic levels that I have worked with up to this point.” ... The score Orienting Response (2015-16), written by Sarah Hennies specifically for Chilean guitarist Cristian Alvear, is composed of six parts with short instructions describing some unusual techniques, such as: Play as accurately and consistently as possible but with the assumption that “mistakes” are inevitable. Allow “mistakes” to occur, do not attempt to correct them. All sounds should ring freely (as long as is possible) unless otherwise indicated. All timings and tempi are approximate and flexible.
Sarah Hennies: Orienting Response by Cristián Alvear
“The recordings were made over a period of a couple of years. The windmill is located about a mile north of the town where i live, on what i assume is ranch land used for raising cattle. It was once used to pull water from underground to fill a couple of large tanks nearby. It's in a bad state and no longer in use. There are two large crows nests at the top, and the inner workings are laying on the ground next to it.” The recordings were made using a mini-disc recorder and hand made contact microphone. They are monaural recordings. Jeph Jerman is appearing in a variety of musical groups and collaborative projects across different genres for more than three decades. From the nineties, we can see in his extensive work a great interest in the sole act of listening. Rather than a classical musician, he is more suggestive of a sound wanderer who sets off daily from his home to the surrounding Arizona desert (characteristically named Sonoran desert), where he records sound fragments or collects found objects which he uses in his improvisations and performances. As a contemplative walker without a set destination, he is interested in the pure sound without references. To what we listen is not so important, what matters most is the time, place and the way we listen. Unlike other field recording artists, Jerman is not interested in the aesthetic richness or sonic variety, but simplicity, gentle differences, vibrations, moderation, and the primordial animalism on the quiet edge of organic and inorganic nature. The 34° 111' 3" N 111° 95' 4" W named field recording is a collection of three pieces, in which Jerman maps a specific place and which carefully reflect his life philosophy. It’s a recording of an abandoned windmill in different times, stages of decomposition and weather conditions. The symbol of the circle and rotation and the moaning material shaped by nature elements subtly fit in the comprehensive sound diary and environment where Jerman moves and lives. "These days I don't try to evoke anything. I make sound that'll hopefully be listened to.“ Jeph Jerman has already collaborated with artists like Jon Mueller, Ben Owen, Taku Sugimoto, Tony Whitehead, John Hudak, Bernhard Günter, Greg Davis, Tim Barnes, Aaron Dilloway, and others.
Jeph Jerman – 34°111'3"N 111°95'4"W
"In the two compositions for vibraphone she wrote for mappa editions, Sarah Hennies analyses the psychoacoustic dimensions of space. Sisters is a sonic exploration which opens the space between the rough walls of the church, an infinite pulse penetrating into every crinkle, hole and fold. In the sense of her quote "When you pulse one note on a vibraphone for 20 minutes, why do you need to do anything else?", we witness the fullness of one single tone, disappearing resonances and gentle changes, which reveal various performative, spatial, psychic and listening situations. Sisters was a challenge for Lenka Novosedlíková, who is slovak composer, performer and organizer. Novosedlíková is well known distinctive figure of the youngest composers generation in Slovakia. She moves across contemporary composition and interpretation (percussion instruments), improv or electronic music projects. She is member of Cluster Ensemble which is renowned Slovak ensemble with many international achievements.
We discovered the church in Kyjatice three years ago during our irregular wanderings across southern Slovakia. We were completely enchanted by this well hidden medieval building standing over the village, surrounded by sunny fields and dense forests. We asked ourselves how we could bring life again to the church, how we could fill it with sound which would not interrupt the contemplative character of that specific environment. The result should have been the sound intervention which would awaken and reveal every corner inside of the church. Just for a moment, we wanted to caress all the monumental fresco paintings, creaking wooden benches, pipes of howling organ, hand painted ceiling and carved saints by sound which could release them from the long guarded and abandoned silence.
The church in Kyjatice is a sacred place of mappa editions. It blesses all our activities. It's a place of inevitable distance from our everyday life. Here we find distance from our everyday lives. By buying a recording you contribute to better accessibility and maintenance of this significant Roman-gothic monument with valuable fresco decorations.
composed by Sarah Hennies performed by Lenka Novosedlíková
---Recorded by Jonáš Gruska. Mixed and mastered by Giuseppe Ielasi. Design by Jakub Juhás and Zoltán Czakó. Cover photography by Zoltán Czakó. Liner notes by Jennie Gottschalk. Special thanks to Janka Miháliková, Nina Pacherová and Lukáš Ďurian. Released by mappa as MAP011 in 2018 Supported using public funding by Slovak Arts Council
Sarah Hennies – Sisters
"IQ+1’s third album, titled Conversaphone Plus, as the result of several séances recorded at the end of 2017. Every submersion in its depths is an unrepeatable experience. The organic sonic material is constantly contracting and expanding, adapting itself to the listener’s context, escaping beyond the horizon, creating mimicries, and enticing us to bubbling, popping, and jingling polyrhythms to then release its protective toxins. All six pieces boil on the narrow edge of chaotic decomposition and celestial order in which every sonic detail has its precisely determined position. Field recordings permeate the instruments on an equal footing, making it difficult to identify the sound, instrument, or player, so that each time the record is turned over, a new adventure begins. Federsel (B4, Handa Gote, Gurun Gurun) took care of the connective tissue between the pieces and the balanced post-production architecture. Avoiding irritating instrumental exhibitionism, and egocentric deafness, Conversaphone Plus is nothing less than an uncompromising electro-acoustic testimony to the vitality of the Czech improvising scene. And it is nothing more than an attempt to connect sonic geology with astral listening. Open the window a little – a messenger from the spacecraft known as IQ+1 is descending through the opening."
George Bagdasarov / vintage turntable, FX, baritone sax Veronika Hladká / violin Jana Kneschke / violin Jaroslav Tarnovski / synths, electronics, percussion, field recordingsPetr Vrba / clarinet, trumpet, electronics Michal Zbořil / analog synths, electronics, Indian harmonium Kateřina Bilejová / body weather
Recorded by Federsel @ Divadlo Ponec, Prague (1-5) Školská 28, Prague (6) Mixed & mastered by Federsel @ CSN, Prague Artwork by Christian Orlock & design by Kella Translated by Ian Mikyska Thanks to Lukáš Jiřička, Divadlo Ponec, Jakub Juhás, Josef Jindrák Special thanks to Federsel
Iq+1 – Conversaphone Plus
“This recording is based on a particular geographic area of Sydney: the industrial zone around Sydenham Train station. As with many inner city industrial areas in large cities all over the western world, this place is ripe for redevelopment. However, in this case, due to the zone being directly underneath the flight path to Sydney airport, as well as being flood prone due to environmental factors, unscrupulous property developers are not able to completely gut the place and erect hideous apartments. What is interesting to me, and what this recording aims to capture, is that these factors – the aeroplanes and the puddles – act as a form of resistance to the development.” (MP Hopkins) MP Hopkins is a hidden treasure from Australia, a sound artist known for his varied music projects and strange mix of lo-fi urban field recordings and intimate bedroom experiments. Sonic details of empty streets from close neighbourhood, subtle intervention and fragments of lonely voice comments are reminding distinctive forms of sound journalism or a diary for night adventurers. Aeroplanes & Puddles follows the previous Traipse - Marrickville (2015) album which is Hopkins's starting point for his walks along the Sydney suburb. Mappa presents the sonic evidence of this opposition; the non-human voices of resistance that the aeroplanes and water speak with in this acoustic environment. The work features field recordings of the area garnished with a text narrated by Hopkins which combines fragments of the 2017 Australian Federal Budget speech and parts of ‘The Powerhouse’ – a radio play by Richard Packer (Gargoyle Poets series, 1972).”Feel free floating in the holy sound voyeurism and thorough collection of evidence from the other world at the same time."
Recorded, mixed and mastered by MP Hopkins. Artwork and design by Jakub Juhás, Richard Čecho. Photos by Nina Pacherová. Released by mappa as MAP09 in 2018
Mp Hopkins – Aeroplanes & Puddles
"Mappa editions presents special project of Bruno Duplant and Pedro Chambel duo which connects field recordings (2 CD) and Duplant's photographic project emerging from the same concept. “All my new pieces with field recordings are "autofictions/self-fictions". Field recordings, like always with me came from lot of places. I don't care about where were recorded the sound, but much more how to create new entities, territories (the self-fictions/autofictions), which are both fictive, intimate and personal. I like the idea that listeners will enter in that fictive places like if they were real, like they did with a great novel.” Bruno Duplant is sound enthusiast, composer, improviser and multi-instrumentalist living in the north of France. In his work he is creating new fictional universes and uncharted territories using many field recordings collected in different parts of world. Architecture and culture of these sonic environments is created in two ways. First one is listening and collecting of surrounding sounds, not especially “natural” ones, but more “cultural” ones. Second one is shaping the sound and the composition itself. “Recording and editing are two different states, one more passive for me (the recording) and the other more active (the work on the sounds, the composition itself). The collection of sounds can be seen as fishing, an artisanal harvest in which one can have good surprises and less good ones. The whole approach is about accepting to make do with this. With this method of work I have to accept the hollow periods, failures and even the doubt.” In this case the role of active listening is shifted from recording in certain time and space towards studio work and to finding new sound elements, relations and spaces. “I see and name my compositional process (whether for instruments or for field recordings) as an "attempt at organizing chance". The composition allows me to assemble more or less logically and incongruously the different sounds collected. I never try to reproduce the sounds that surround me in a logical and precise way. I try to create something new, a new fictional entity that I have named “autofiction”, "self-fiction".” The result is discreet witness of everyday life, where the listening ear is trying to decode and create an imaginative model of well-known place. It is a timeless place, which is possible to visit again and again and explore its hidden corners and details. The orientation in space is not easy since whole surroundings is misted by electronic sounds of Portuguese musician Pedro Chambel. “The use of discreet electronic sounds came from the idea about to ask oneself the question: where does those sounds came from? Are they from the field recordings? Some sounds came from there, some other not, but which ones? I also like the idea of using those sounds as some disruptive elements, like in most of stories, novels or movies.” Duplant is autodidact who following and renewing concepts of John Cage, Luc Ferrari, Rolf Julius or Toshiya Tsunoda. In his work we can also find parallels to literary techniques and space or to forms of reading. “First of all, I am teacher, a librarian teacher. I only make music when I have time, in the evening, on the week-end, in my holidays. I spend most of my time surrounded in books. I have this opportunity. Some authors, some texts, some works have become great sources of inspiration for me. This is the case for all the poetry of Francis Ponge, the texts of Georges Perec, the philosophy of Gaston Bachelard. So, my life, my practices are not compartmentalized. Besides collaborative sound projects duo Duplant/Chambel is also known for their curatorial work in delicious label Rhizome.s. In past they collaborated with Ilia Belorukov, Lance Austin Olsen, Barry Chabala, Nate Wooley, Ryoko Akama, Manfred Werder. Quotes are taken from interview between Bruno Duplant and Tobias Fischer for 15 Questions. www.15questions.net/interview/fifteen-questions-interview-bruno-duplant/page-1/
Bruno Duplant / composition, field recordings & discreet electronics Pedro Chambel / discreet electronics
Dedicated to Georges Perec. Assembled in Waziers during 2016/2017. Mixed & mastered by Bruno Duplant. Photos from self-fictions/autofictions series by Bruno Duplant. Design by Jakub Juhás. Thanks to Alžbeta Halušková.
Bruno Duplant, Pedro Chambel – Autofictions