ROOM40 - Forced Exposure

$23.00 PREORDER RELEASE DATE: 8/2/2019

Room40 offer a re-mastered, re-edited 2019 version of Rayon Hula, originally released in 2004. From Mike Cooper: "After several trips, beginning in 1994, to the Pacific and its Island Nations, Australia and subsequently to South East Asia, I conceived the idea of making an updated more 'now' version of some of the Exotica music that originated in 1950's America. Arthur Lyman and Martin Denny were the two I mostly had in mind at the time, but I didn't want it to sound like them and the two words 'Ambient' and 'Electronic' had to figure large. I was deeply influenced by the ambience of the places I was visiting (Australian birds are scarily creative) and lo-fi electronics were something I had been working with in my free improvisation gigs since the '80s . . . No-one was issuing recorded work by me, so I started my own DIY cd.r. label, Hipshot, and sold them via the internet. I was free to record whatever I wanted and I did, starting in 1999 with Kiribati . . . The summer of 2004 house sitting in Palombara, 40 minutes outside of Rome, at our friend Jo Campbell's house, in the company of several dogs and numerous cats, I set to work outside in the shed with a Zoom Sampletrack ST-224, two mini disc recorders and a Tascam four track cassette machine; a pile of Arthur Lyman and Martin Denny CDs and my lap steel. My intention was to create a kind of music that I had hoped to hear when we visited Hawaii in the early '90s (some kind of Hawaiian Futurism maybe?) which we never did. Rayon Hula appeared from the shed and was initially released as Hipshot c.d.r. HIP-007. I submitted it to the Ars Electronica awards in Austria and was very surprised when it received some kind of a prize. I think that David Toop had something to do with that, as he was on the jury (thanks David). It was picked up by Cabin Records, a new label initiated by Pete Fowler and Graham Erickson and released as a double 10-inch vinyl set . . . Although the idea was an homage to Arthur Lyman, it was also an homage to Steve Feld who introduced me to the concept of 'lift up over sounding' in his book Sound and Sentiment, a study of the Kaluli people of Papua and their relationship with their aural environment. From it I gleaned, among other things, the idea of looped sounds played simultaneously but out of sync. An idea which had in fact guided me from the beginning of the series."

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Room40 presents Kevin Richard Martin (The Bug)'s Sirens, his solo debut. "When I was 22 I managed to acquire Techno Animal's Demonoid 12"; I can still recall the intensities of sound that marked the first moments of listening to it. The sense of bass as a tactile surface, that rolling groove and the howling sine waves and dub sirens that scorched with a type of sonic burning sensation that to this day makes my hairs stand on end. A year later I heard Ice's Bad Blood, from there I discovered The Bug, a band called God, a sound movement called isolationism and much more; all of these projects had one nexus point. In 2015, Kevin and I book-ended a series of concerts at Berghain for CTM festival. For his performance, Kevin debuted a new work I'd heard very little about called Sirens. I remember two things distinctly about the performance. The first: he opened the set with a blazing passage of bass and dub sirens that transported me back to those initial moments of encountering his work. The second was the feeling of absolute, crushing bass. Not before, or since, have I felt a sense of sound pressure like this. Unlike his other work with The Bug, the consistent bass carrying in the space was literally breathtaking and there were moments when it seemed difficult to see clearly as my eye sockets were vibrating in a way I'd never experienced. Sirens, which documents the intensities surrounding the delivery and early days of his first child, carries in it a sense of deep affect. The album, unlike the live work, traces out a dynamic sound world that is both tender and caustic. Within each piece, microcosms of sensation unfold, Kevin deftly maneuvers us through the tumultuous journey. Sirens somehow creates a sense of time that is without anchor and foggy in a way that is profoundly unique. Martin has remained a point of constant inspiration for me over several decades now; to have the opportunity to share his first ever solo recording brings me the utmost pride. His new work Sirens is a life journey transposed into sound that is truly personal, but effortlessly universal. It is the start of a new chapter, one that I know will only strengthen his place as one of the critical voices in contemporary electronic music." --Lawrence English, March 2019 Mastered by Stefan Betke at Scape Mastering.

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"We find ourselves increasingly in a swell of solastalgia, which is not a new phenomenon; it has haunted us over the centuries. Change has never been humanity's strong suit, but it has been our shadow; it's here, at this fractious nexus of unpredictability that Rafael Anton Irisarri has created his latest work, Solastalgia. Building on the echoes of landscape that guided his previous Room40 editions, Solastalgia imagines that which is not yet known. Utilizing a range of unexpected variables, automations and uncontrolled systems in the creation of the recordings, Irisarri has developed a new approach to his work, seamlessly weaving together intense layers of texture and saturated harmony. Within these works, distant melodies emerge and in their wake the listeners' focus shifts again and again. A never-ending loop of the unconscious feeding into the conscious is formed. Whilst the skeletal form of pieces such as "Coastal Trapped Disturbance" might remain, the organic matter that is the body of the music is in a process of persistent transformation. These subconscious variations morph the pieces from within. This is a record of sublimation, and dwells in states of transition and becoming. Recorded in two suites, each section is a distorted mirror reflection of the other. Solastalgia stands as a landmark undertaking for Irisarri, it encourages us to remain unsettled and attentive in the moment, and prompts us to listen deeper and imagine what lies beyond or in excess of our expectations." Written and produced by Rafael Anton Irisarri in New York, USA during Autumn 2018.

Rafael Anton Irisarri is an American composer, multi-instrumentalist, and record producer living in New York. Described as one of contemporary ambient music's most celebrated practitioners, Irisarri's music often has a mournful, elegiac quality where ostinato phrases tap into minimalist ideals while atmospheric layers of effects suggest a more cinematic approach. In all, his compositions are deeply emotive and epic, like a symphony recording that's been rescued from attic entombment after half a century. Irisarri concerts at museums, churches, synagogues, and other non-traditional performance spaces explore the physicality of sound. Combining an array of heavy metal bass amplifiers, multiple loudspeaker configurations, synthesizers, bowed guitars, notebook computers, video images, and lighting, Irisarri decontextualizes the audience's relationship to the venue, creating an immersive, otherworldly environment. Irisarri's recorded works are widely published internationally.

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Room40 release The Last Days Of Reality, featuring Decibel performing the works of Lionel Marchetti and Cat Hope. "I first met Lionel Marchetti in Australia in 2010. Decibel were touring our Alvin Lucier program, and Lionel was on the same bill performing a live performance set manipulating electro-acoustic materials with dancer Yoko Higashi. I was so taken with Lionel's performances that I asked him if he would write a piece for Decibel. I didn't realize that he hadn't done something like this before. The first work was Première Étude (Les Ombres), communicated as a text score, and premiered in 2012. I was asked by Lionel to make some recordings of ocarinas, harmonicas, and folk instruments; I sent these to him to be featured in the live performance. For this piece, the part comes from speakers beside each performer, and a bass amplifier beneath the piano. Like his own performances I had seen the year before, the work was naturally performative, with unique speaker and performer configurations. It was a remarkable combination of electronic, spatial, acoustic and textural music. The performers use the partition Concrète as a score. I visited Lionel in Lyon in 2014, recording flute improvisations in his studio. He used these as a basis for Une Série De Reflets, again communicating via text instructions and each performer having their own dedicated speaker to interact with. Pour Un Enfant Qui Dort again requested flute sounds that were time part of the live performance as well as the partition Concrète. The next work saw a more 'compositional' collaboration; The Earth Defeats Me began as a graphically scored work written by me and recorded by Decibel. That recording was used to make the partition Concrète which is now an embedded as part of the score. These works exist as live performances, but also as singular Concrète works, without the instruments. Working with Lionel has been remarkable; he has a singular way of thinking about sound and its relationship to works and images. These pieces enable the acoustic instruments to be part of that, extending the ideas in the partition Concrète, using them structurally and texturally, as well as being part of them. It is music that concerns itself with the incredible power of sound, but from the most delicate and dream-like perspective." --Cat Hope.

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"I think the first time I heard Merzbow must have been 1994. I remember not really knowing what to make of it. It was effortlessly deep and aggressive, but also emotive and lyrical in the way the waves of sound would erupt and decay. It wasn't easy then to discover information about artists, but within a few months I had learned as much as I could. In the mid 2000s, I had the chance to meet Masami Akita, aka Merzbow and present him live when I was co-producing the What Is Music? Festival. It was a pretty special event; the first (sonic) meeting of Merzbow and Keiji Haino took place here in Brisbane. Merzbow's solo performance was as transformative an experience as hearing his music for the first time. MONOAkuma is a live recording made in Brisbane in 2012; this was the second time I had the pleasure to present him live in Australia. To me, this performance epitomizes the physiology of Merzbow's sound work. He creates in absolutes; sonically he generates a tidal wave of frequency that sweeps across the spectra with tireless frenzy. Merzbow's capacity to conjure a massive swirling mesh of analog and digital sources is without comparison; his work is one of intensity, a seething, psychedelic and utterly visceral noise-ocean. What MONOAkuma represents is a resolution of Merzbow's work across both analog and digital noise mediums. Here, he brings together his formidable pulsing analog noise and his more recent digital approach. On MONOAkuma, he resolves these modes of operation into an ontology of noise in the absolute. There is no question - this is about the body and the ears being overwhelmed. In those moments of being wholly consumed comes an incredible bodily sense of euphoria that is a truly unique and profound experience. MONOAkuma which epitomizes Merzbow's 40 years as the most important noise musician of our time, demonstrating the intense and complex audio world he's created. It's the perfect starting point from which to wade into the noise ocean that is Merzbow's vast output." --Lawrence English. All proceeds from MONOAkuma will be used to fund research and preservation attempts for the Tasmanian Devil; which in recent years has suffered greatly due to effects of a transmissible facial cancer.

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Room40 release Akio Suzuki and Aki Onda's Ke I Te Ki. "Akio Suzuki and I have been performing together frequently for the last five years; we have a tendency to perceive sound as space, or to always consider sound in relation to space. We don't usually hear sound sources as they actually are, since they are always modified by a space's acoustics and its reflections, absorptions, and attenuation. Sound is affected by the conditions and characteristics of a particular setting. We respond to the extra acoustics of these phenomena. Our ears have to be wide open, constantly adjusting to ever-changing detail. In performance, we opt for opens space where the audience can surround us or position themselves throughout the space. We also like tailoring site-specific performances to unusual locations, creating a dialogue between us and the environment. Ke I Te Ki was recorded in New York City in 2015 at The Emily Harvey Foundation - a SoHo loft-style art space that was once the studio of Fluxus founder George Maciunas. It is a historic building of New York avant-garde culture, and the last of the artist co-ops that Maciunas created in New York City. We had one day of preparation for the multi-track recording, performing for two nights surrounded by a limited but packed audience. The loft is itself quite constrained, and Akio and I needed a significant portion of the floor to place our gear and roam around. Microphones were everywhere, since our sounds diffused across the space. My role was to set an assortment of "scenes" with field recordings, sustained drones generated by an industrial electric fan, and electronic tones and pulses from radios, et cetera. Akio then built upon these with layers of melodies and rhythmic patterns, while we both engaged in fabricating distinctive texture and timbre. Akio kept changing his instruments, bringing surprises and sudden changes, creating contrast and powerful tension. Ke I Te Ki in Japanese means the sound of an alarm, or a whistle to call attention to a hazardous event. We hoped to develop our style by adopting a set of self-imposed rules related to the multi-directional soundscape, acoustical response to the space, and implementation of visual elements. Akio suggested the name Ke I Te Ki as a reminder to push ourselves further. It was a lesson for us in questioning 'norms' and exploring other possibilities." --Aki Onda.

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Polish producer Tomasz Bednarczyk returns to Room40 with Illustrations For Those Who, his first full length edition in almost a decade. Across the late 2000s, Bednarczyk created a series of acclaimed ambient recordings that married the unsteadiness of archival technologies with an extensive palette of pastoral timbres. These recordings quietly set a particular tenor of work for a new generation of Middle Eastern European ambient composers. Following these recordings, however, Bednarczyk's energies were re-directed with his time being split between a multiple of more techno-oriented electronic music outings. In early 2018, following the success of his New Rome project (RM 478CD) released in 2016, Bednarczyk began exploring a new approach to his more atmospheric works. Using an incredibly reductive set-up, he took single sources and exploded their potentials. Through a process of layering and synthesis, he was able to create incredibly minimal, yet dense sound textures from very singular materials. Within a matter of weeks he had devised a new way of approaching his more ambient compositional interests. Illustrations For Those Who is the result of this first investigation. Each piece is singular in nature, in that its source is one synthesizer or instrument. The resulting pieces though are anything but singular. Rather, each of them maintains a detailed and rich sensibility built around complex cycling of sonic materials. This edition marks out an important new direction for Bednarczyk and firmly asserts him as a continued force for ambient music emanating out of Eastern Europe.
Tomasz Bednarczyk (b.1986) is a musician living in Wroclaw, Poland. Since 2004 he has been writing compositions that present new, melodic sensibilities through a mess of fragile, disintegrating sounds. He work has been called melancholic and offers glimpses into his surroundings and beyond.

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Room40 stalwart Erik Griswold returns with Yokohama Flowers, his latest collection of works for prepared piano. For over two decades, Griswold has been crafting a particular and utterly personal language around his instrument of choice. His preparations, which are in a state of perpetual refinement, are like a kind of lens; it is through them that a certain audio reading of his instrument is made possible. It's understandable, then, that Griswold would be inspired by the work of Australian experimental film maker Louise Curham. Like Griswold, she too reveals a very personal reading of her surroundings through a range of preparations and expanded techniques. Discovering her work through a series of collaborations hosted by Room40, Other Film and other groups, the pair slowly developed a strong approach to joint performance. In many ways, these recorded works reflect upon those performances. Similar to her filmic works, which maintain an unfamiliar, yet tangible beauty; Griswold's compositions remind us that the piano is never truly knowable, or known. Each composition collected here reveals another detail or way of knowing the piano. The preparations release something in excess of the instrument itself. It's in these extensions, these ruptures of familiarity, that the language of the piano is born and reborn. It is a state of perpetual discovery and resolution, framed in composition. Griswold on the music: "There's a mystical aura surrounding my old piano. I imagine the 19th century workshop in which it was hand-crafted and the German parlors in which it played Bach, Beethoven, Debussy, Satie, or Joplin. I imagine its journey from Stuttgart, by ship to Sydney harbor, and overland to the semi-tropical heat of Brisbane. Playing it I feel connected to its 131 years of history -- the people, places and music that have come before. The beautiful, hand-treated Super 8 films of Louise Curham are a perfect visual counterpoint to my music. In her Yokohama Flowers (2018), a sense of fragility, intimacy and nostalgia emerges from the superposition of location footage with delicately hand-drawn and painted layers. Her method closely mirrors my own, which combines tactile exploration at the piano keyboard with layering of foreign materials (preparations) onto the strings. By altering and repurposing old technologies in this way, it is as if we are squeezing the last drops of nectar out of these fading flowers."

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To summarize the work of M.Geddes Gengras is no easy feat. A tireless artist, whose output sprawls across experimental dub, ambient and low-key techno, his wide-ranging discography reveals a curiosity that serves as a primary driver for creation. Light Pipe is arguably Gengras's most ambitious recording project to date. His tenth solo recording is an epic undertaking, spanning over two-and-a-half hours. Across the two CD set, Gengras charts out evocative landscapes of texture and harmony. Working with very simple elements, he creates a tidal like sound space, where sound layers flow seamlessly, rising and falling with an ever-changing sense of motion. These pieces were written across several years responding to site specific performance situations. These include a durational performance in Los Angeles at The Getty Center's Irwin Garden, a special performance alongside the banks of the Los Angeles River and performances at the El Rey and Regent Theatres. Each disc in this edition focuses specifically on either interior or exterior spaces; the indoor and the outdoor, reflecting the specific conditions of how sound operates in these types of situations. Light Pipe is a long-form work within which multiple states of listening are possible, and moreover encouraged. It's music that is ideal for deep immersion; for sleep, for flying and for any creative states within which a sense of expansion is needed. M.Geddes Gengras is an experimental composer and performer living in upstate New York. His works in the medium of modular synthesis comfortably straddle a variety of forms while remaining rooted in a deep affinity for the limitations of hardware synthesis and a keen ear for timbral manipulation. Presenting a spectrum that is very diverse in sonics and mood, the connecting thread between the extended ambient spaces and more jarring aspects is a meditative devotion to sound and process. Since 2011, he has released nine albums of solo material, both under his own name and his dance-music alias, Personable. He has shared stages with William Basiniski, Tim Hecker, Laurel Halo, Curtis Roads, Simian Mobile Disco, David Toop, Jon Hassell, S U R V I V E, and OM, collaborated on stage and in studio with Joe McPhee, Jon Gibson, Sun Araw, Greg Fox, The Congos, and Georgia and Bill Kreutzmann, as well as performing at the Los Angeles Natural History Museum, Museum of Contemporary Art, The Getty Center, Moogfest, Mutek_MX, and FORM Arcosanti.

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From Scanner, aka Robin Rimbaud: "There were three performers and one witness. I can remember this day well, even though it was some twenty-four years ago. Standing up before a mixing desk in a dark room in an apartment in South London, Jim O'Rourke, Robert Hampson, and myself, literally all hands-on deck as we each took responsibility for the faders on the desk. Introducing sounds to the mix, the accident reigned supreme. Sometimes the high frequency of cellular noise would pervade the atmosphere, at other junctures it would erupt into words and melt down to radio hiss. Mike Harding from Touch stood silently, listening intently. A couple of years earlier we had set up Ash International, an audio project which allowed us to release unusual and exploratory music and sounds that we felt deserved a wider audience, from Runaway Train (1994) to the early Scanner releases. Two mixes were captured directly onto DAT tape, one of which would be released as Mass Observation (1994), an EP that featured a 25-minute version of one of these sessions, but until today the second, longer mix has never been heard. Dehumanized communications, beatless radio signals drawn in live to tape, and accompanied by dial tone pulses and abstract textures, Mass Observation is a highly suggestive picture of a particular place in a city at a specific time. A form of "Sound Polaroid" as I tended to call such recordings. My early work, in the early and mid-1990s, was a study in surveillance. Long before our concerns about data leakage at Facebook, and Siri spying on our private moments, I used the scanner device itself - a modestly sophisticated radio receiver - to explore the relationship between public and private spheres, lending a deep sense of drama to these found cellular conversations within a contextual electronic score. In many ways, this work pre-empted our reality culture, with television now saturated by Love Island and Big Brother. In the experimental techno uprising of Britain in the mid-1990s, this work proved controversial and memorable. Bjork sampled Mass Observation controversially for her "Possibly Maybe" single, whilst Coil and Aphex Twin bought radio scanners and introduced these found voices into their recordings; I continued to create work in this grey area of ambient sound. It's work that still carries great meaning for me, opening up possibilities with sound and introducing the human voice back into experimental electronic music."

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132 Ranks for Pipe Organ was composed by Olivia Block in 2016-2017, as a commission for LAMPO and The Renaissance Society. Block composed the piece specifically for the enormous Skinner Organ at Rockefeller Memorial Chapel in Chicago. The world premiere was performed by Block on April 21, 2017. The concert, free and open to all ages attracted a large crowd. 132 Ranks was conceived as a hybrid of concert and sound installation. Six speakers were placed throughout the chapel. These speakers played white noise, sine tones, and prerecorded organ sounds, designed to interact acoustically with the live performance, and bring out the acoustics of the chapel in unconventional ways. White noise and low bass tones pulsed and sliced through the air, while sine tones and organ clusters created complex beating patterns and inner ear sound phenomena. Audience members were participants, quietly walking through the majestic, dimly lit chapel. Listeners noticed how the acoustics, materials and shape of the space altered the live and recorded organ sounds as Block performed. Some audience members relaxed on the floor of the chapel, listening, while others explored the upper balconies and hallways. 132 Ranks was designed to emphasize the architectural qualities and unique sonic and spatial capacities of the Skinner Organ. The piece included both the lowest pedal notes, felt in the body, as well as the highest bell tones, played at extreme dynamic levels. At times, sounds were isolated in discrete locations to emphasize the chapel's shape. Olivia Block is an American composer and media artist. Her body of work includes electroacoustic recordings, audio-visual installations, performance, sound design for cinema, and scores for orchestra and chamber music concerts. She has performed throughout Europe, America, and Japan in tours in festivals and performance series including The Walker Museum concert series, Incubate (Tilburg), Festival del Bosque Germinal (Mexico City), Sonic Light (Amsterdam), Kontraste (Krems), Dissonanze (Rome), Archipel (Geneva) Angelica (Bologna), Sunoni per il Popolo (Montreal), and many others. Additionally, she has presented work at the ICA (London), MCA (Chicago), La Biennale di Venezia 52nd International Festival of Contemporary Music, The Kitchen (NYC), ISSUE Project Room, Experimental Intermedia (Brooklyn) and TIFF (Toronto).

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Re-Verbed (No-Input Mixing Board 9) is the latest edition from Tokyo-based artist Toshimaru Nakamura. The "No-Input Mixing Board" is a unique instrument pioneered by Nakamura. As its name suggests, it is a mixing console within which external no input exists. The instrument is fueled only by its own feedback. Initially used by Nakamura as a more tonal instrument, creating incredibly high frequency outputs, over time the mixing board has become decidedly more rhythmic and harmonic. It is this sonic territory that is the focus of this edition. Re-Verbed (No-Input Mixing Board 9) is by far one of Nakmura's most musical recordings. The board's tonality is front-and-center; low pulses and cavernous pulses fizzle and murmur with a subtle but frenetic energy. Drifting into decidedly dub-oriented directions, Nakamura allows the instrument to breathe; specifically he finds new dimensions to the ways interference can be brought into harmony within the pieces. While the instrument might suggest a sense of indeterminacy, Nakamura's intimate relationship with it means he can maintain an unerring sense of control over it. Re-Verbed (No-Input Mixing Board 9) is evidence of his intense capacity to create profound work with this most unusual of devices. A conjuring of something truly unique from literally nothing. Toshimaru Nakamura's instrument is the no-input mixing board, which describes a way of using a standard mixing board as an electronic music instrument, producing sound without any external audio input. The use of the mixing board in this manner is not only innovative in the sounds it can create but, more importantly, in the approach this method of working with the mixer demands. The unpredictability of the instrument requires an attitude of obedience and resignation to the system and the sounds it produces, bringing a high level of indeterminacy and surprise to the music. Nakamura pioneered this approach to the use of the mixing board in the mid-1990s and has since then appeared on over one hundred audio publications, including nine solo CDs. From 1998 to 2003 Nakamura and Tetuzi Akiyama ran the concert series Improvisation Series at Bar Aoyama and then later the Meeting at Off Site series of concerts. Both these concert series were crucially important in exposing a new manner to improvised music (referred to as Electro Acoustic Improvisation) to the Japanese public and to foreign musicians visiting Japan, making Tokyo one of the global hotspots for this new approach to music.

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Norman Westberg is perhaps best recognized for his truly individual approach to guitar with the band Swans. His playing with Swans has influenced a generation of musicians across genres. His particular approaches to that instrument, in creating both harmony and brute force, have challenged and ultimately informed a great many players. His new solo record, After Vacation, is his first full-length to come in the wake of the final Swans outing in its current configuration. More importantly it is also the first record to see Westberg move beyond a more performative mode of single take composition. After Vacation sees Westberg significantly expand his sonic palette. He opens up the tonal and harmonic possibilities of his instrument in unexpected and profoundly beautiful ways. His guitar, as singular source, becomes transformed through a web of outboard processes. He transforms vibrating strings completely, taking singular gesture and reshapes it through webs of delay, reverb, and other treatments. Moreover, he finds a new sense of space and dimension with these recordings. After Vacation has a decidedly more topographic sense. It charts out the dark contours of places unseen but imagined. It traverses a divergent range of places in search of an ever-opening compositional approach. The results are in excess of anything Westberg has created previously. His melodic capacities come to the fore; matching his distinctly personal approach to the textural qualities of his instrument.

From Norman: "This is the first recording that was not done in my 'one take; it is what it is' method. For me, this was like jumping into the pool with a blindfold on! Due to this shift, After Vacation is something of a collaborative record with the very capable and caring Lawrence English, acting as producer for the sessions; taking my sounds and weaving them into finished pieces. I listen to them more as stand-alone stories, rather than my usual style of bouncing conversation. The title After Vacation came from the feeling that something was changing. Not that playtime was over, just that last week was fun and all, but now is a good time to move around into something more realized."

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Joana Gama and Luís Fernandes's new offering At The Still Point Of The Turning World, borrows its title from T. S. Eliot's poem "Burnt Norton". It is a record of restless motion, lilting and pulsing with a sense of gentle determination. Born out of a period of mutual loss, the works carry a bittersweet sentiment. Bitter in the sense of loss; sweet in the sense of lingering memory and influences recognized of those departed. It is also a record that, like the poem from which it takes its title, mediates on the nature of time and the way music must be explored as temporal art. The very nature of the compositions, their meaning and structural qualities unfold across the record with a particular and measured temporal gesture. This sense of measure is the result of musicians involved, guided by Gama and Fernandes, working for and against one another within each of the tracks. Pieces such as "Neither Flesh Nor Fleshless" and "Lucid Stillness" capture this essence. The sharp attack of their rhythmic spines, create macro environments within which instruments float into and out of focus. Rather than simply acting as anchor points for the pieces, these markers become buoyant amidst atmospheric layers of strings, percussion, and horns. The music swells and breaths. Commissioned by Câmara Municipal de Guimarães and A Oficina / Westway Lab Festival in 2017, At The Still Point Of The Turning World is the most considered output from this duo to date. Informed by a shared interest in the timbral connections between piano and electronics, these pieces extend outward from Gama and Fernandes and in combination with Orquestra de Guimarães and arrangements from José Alberto Gomes, they create a charged collection of minimalist inspired sound fields. The album was mixed and produced by Lawrence English at Negative Space in late 2017. In 2012, Joana Gama and Luís Fernandes met during the 100Cage show in Lisbon, Portugal. Having not cross paths beforehand, the two immediately felt a kinship born of a mutual interest in experimental music traditions. They began collaborating immediately and in 2014, the pair released work as QUEST, which was widely acclaimed in their home country. The duo has made the soundtrack for a number of prizewinners short-films. On this recording they laid out the groundwork for what was to come of their partnership.

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The music of Australian artist Thembi Soddell resides in a zone of unrelenting darkness and physical affect. Working at the nexus of raw emotion, sound design, and musique concrete, she creates sound worlds that are effortlessly dense and abyss-like. In her performances, she explores sonic environments which swallow the audience. By utilizing intense sound pressure and varying dynamics she creates profoundly unsettling, but fulfilling, experiences for her audiences. Love Songs, her latest work, is easily the clearest articulation of her methodologies. A work of extreme dynamics and intensities, the record is one of the most fierce, sonic expressions to be delivered from an Australian artist in recent years. "The title Love Songs," Thembi explains, "is a little dark humor on my behalf. As the compositional process evolved the work became a meditation on the lived experience of insidious forms of abuse within supposedly loving relationships, in connection to certain forms of mental illness. These experiences are ones of extremes and emotional intensities; the tensions between horror, beauty, rage, desire, confusion, love, and perceptual annihilation. Also, a good deal of the source material for the album is voice. I asked Alice Hui-Sheng Chang to vocalize perceptual collapse, which I sampled and manipulated into expressions of these themes. So, these are my love songs." Published alongside an extensive book, outlining more literal readings of her ideas of sonic affect, contemporary relationships and the nature of becoming, Soddell's Love Songs is an utterly personal and compelling listen. It's equal parts horror, anxiety, relief and exhilaration, often in the same instant. A truly remarkable rendering of sound that extends the possibilities for how we are embraced and engulfed by the acoustics we encounter. Thembi Soddell (b. Australia 1980) is a sound artist and electroacoustic composer with an interest in psychology, perception, subjectivity, and affect in relation to intense encounters with sound. Her distinct approach to composition exploits dynamic extremes, creating volatile, evocative sound experiences with a disquieting edge. She creates works for recording, installation and performance -- including multiple CD releases, presentations at Australian Centre for Contemporary Art, San Francisco Museum of Modern Art and City Gallery Wellington, and two European tours in a duo with cellist Anthea Caddy.

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All is lost, all is lost. Or is it? A poignant question from Pinkcourtesyphone. A haunting strain. A coat of gloss smeared. A scene recalled, a fond memory, a terrible lie in this new dark age of love. Suspended in that lush, lonely feeling, Pinkcourtesyphone implores you to hang breathless on the line, above the chandeliers in shimmering stasis that belie those desperate, shadowy passions underneath. A creak, a glance. Nothing is for certain anymore. That sentimental something echoed across corridors, valleys, crevices, and it was never true. That redundant physicality kept it suspended in the lens-trapped hearts of countless thousands. A limited edition. Seven excellent examples of negative mood music. Pinkcourtesyphone's artistry is all lustrous sounds. New meaning and beauty for... oh, you don't even want to know. The answer is buried under centuries of suffocating sweet tonalities we created. Just like romance, the mighty do fall with indelicate slices. Is it dark outside already...

Pinkcourtesyphone is a continuing project by Los Angeles-based sound artist Richard Chartier. He is considered one of the key figures in the current of reductionist sound art which has been termed both microsound and neo-modernist. Chartier's minimalist digital work explores the inter-relationships between the spatial nature of sound, silence, focus, perception and the act of listening itself. Pinkcourtesyphone is a more emotional, dare one say musical side of his work. Pinkcourtesyphone is dark but not arch, with a slight hint of humor. Pinkcourtesyphone is amorphous, changing, and slipping in and out of consciousness. Pinkcourtesyphone operates like a syrupy dream and strives to be both elegant and detached. Pinkcourtesyphone has collaborated with the likes of Cosey Fanni Tutti, Kid Congo Powers, harpist Gwyneth Wentink, AGF, William Basinski, and Evelina Domnitch. Chartier's sound works/installations have been presented in galleries and museums internationally and he has performed his work live across Europe, Japan, Australia, and North America at digital art/electronic music festivals and exhibits. In 2000 he formed the recording label LINE and has since curated its continuing documentation of compositional and installation work by international sound artists/composers exploring the aesthetics of contemporary and digital minimalism.

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From Nicola Ratti... "These recordings were made during a relatively long period of time, not continuously, over several months in my studio. Nothing was been planned in advance, not any idea of album or approach. Nevertheless I easily recognize myself in this material, moreover I recognize my working space itself. It's like taking a picture, or make a painting, of your personal room where all your stuff is well placed and, among them, their identities as sound sources and acoustic possibilities come into being. The room itself resonates ideally into the music even if, acoustically, nothing has been recorded in it. I believe there are records that you can name as an individual project with a clear identity or theme and there are others that are more like a treasure chest where you put the collection of what represent your best artistic development during a specific time on your path. This set of recordings is the later, a studio collection that summarizes the results of my experimentations of the past couple of years. Also, with this record, I got the chance of address some issues that aren't directly involved in the making of music itself, but that deal with my/our life. Specifically the problems and the consequences of our choices once we believe we could live as musicians/artist among a strictly capitalistic society. Waking up in the morning and going to the studio, without any particular deadline or imminent work that has to be done, or a series of concerts to rehearse, or whatever you do for living, sounds like a beautiful free time to create but actually it's the moment where you face more intimately your artistic life. It is not always nice. Sometime you force yourself, feeling guilty you're doing nothing even if you're so free to create, you chose to leave behind a professional identity thinking you won't attend an office anymore. Then sometimes you still face that introspective questioning along with that empty room you call a studio. This album is a kind of catharsis of that identity and the result of my days facing myself in my studio, trying to do something good and that it's worth sharing, winning this personal, but very common, struggle of the everyday. Musician and sound designer Nicola Ratti was born in Milano in 1978. He works with Giuseppe Ielasi whom he formed the project entitled Bellows.

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On Moon Field, Rafael Toral breaks new ground, it is his first edition that moves outward, beyond the Space Program series. This collection of three extended and interlocking works, mark the beginning of a transitional period into a new phase. Building on the explorations of his almost decade and a half of work with the Space Program, Mood Field seeks a more open sensibility and integrates a range of new elements and new directions. These elements reposition the potential interplays of his chosen musical elements. "Moon Field was originally written for live performance by a configuration of the Space Collective 3," Toral explains, "It was with Ricardo Webbens on modular synths, Riccardo Dillon Wanke on electric piano and myself on electronic instruments. While working on it, the piece revealed a strange hovering quality, a kind of stasis. It's alive and awake, like all the recent Space Program music, but doesn't seem to want to go anywhere. The music wanted to be something very peculiar and I changed it a lot in response to that. It also revealed what I find a kind of nocturnal mood, as if we were listening to alien signals with satellites crossing the sky under the moonlight." Moon Field's middle section, "The Horizon", sees Toral entering a broader acoustic field. The piece weaves a fresh examination of the ambient music he worked on between 1987 and 2003 with the fabric of post- free jazz-inspired phrasing with electronic instruments. The results extend the free roaming aspects of the Space Program and mark out a distinctive and deeply personal approach to sonic atmospherics. This is the first step into a much larger, richer universe.

Rafael Toral, born in Lisbon, 1967 has been intrigued by the potential of sound and the functions of music since he was a teenager. In the 1990s he created a blend of ambient and rock and recorded acclaimed albums like Wave Field (1995) or Violence Of Discovery And Calm Of Acceptance (STAUB 017LP, 2001). By the early 2000s, he decided to start something new and launched the Space Program, an ambitious long-term project exploring an approach to electronic music based on silence, through decision making and physical gesture, in a way inspired by post-free jazz. Performing solo or in numerous collaborations, he has been touring throughout the world. In 2014, he relocated to the mountains in central Portugal for a more sustainable life.

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"I confess to being in a state of ceaseless awe when it comes to Tokyo guitarist, Ueno Takashi. I have had the pleasure to know Ueno now for well over ten years. In that time he has remained a source of constant curiosity and surprise. Just when I think I have the man pegged, he throws out some unexpected musical gesture that completely catches me off guard. Whether it be his work with Saya in Tenniscoats, or his almost endless stream of solo releases, many of which exist in very short run editions, his music typifies a tireless desire to explore. Recently Ueno's curve ball has been his project Off Strings with Vice Japan, where he talks to leading Japanese guitarists. It's an incredible series of interviews, which I heartily recommend checking out. The results have been quite extraordinary and his session with Haino Keiji a personal favorite of mine. Yet another pleasant surprise from this maestro. Over the course of his previous solo recordings for Room40, Ueno has tested very reductive compositional approaches. Each of the records has created a precise and unique approach to guitar. Sui-Gin, his first solo for us, almost ten years old (2008), remains one of Room40's most individual sounding recordings. It's a collection of alien tones, uneasy yet beautiful. To this day I still can't quite imagine how he drew so much harmonic richness from such a limited palette; one instrument and one pedal. Smoke Under The Water, a title I can only assume maintains at least a little humor about it, is easily the most beautiful record Ueno has made in recent years. Here, the lushness of his playing meets head on with his minimalist compositional heart. This record bares a close attention to detail. That is not to say it is fussed over or seeking some kind of state of perfection. On the contrary this is a record about performance, about taking a beautiful compositional idea and seeking to document it with the life and breath that is so critical to solo instrumental works. I implore you to listen to one of Japan's true masters of his craft." --Lawrence English, October 2017

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In August of 2017, Ross Manning opened his first major survey exhibition, Dissonant Rhythms, at Brisbane's Institute of Modern Art. As part of the exhibition a monograph and LP edition, titled Reflex In Waves, were prepared to celebrate this milestone. Reflex In Waves brings together a series of sonic approaches Manning has been developing for over a decade. Specifically, Manning's work is concerned with waves and the impacts of their resulting vibration. Quietly producing audio works out of his studio in Yeronga, on the south side of Brisbane city, Manning's works are based on a series of deeply personal instrument designs, tape manipulation, and other exploratory approaches. His instruments, which are often percussive, use harmonically related materials that are activated by motor-driven strings. The resulting sound is a chaotic but pulse-like cluster of harmony. Developing sets of uniquely pitched materials, Manning's instruments each maintain a distinct quality. No two instruments sound alike and although the way in which they are "performed" may be similar, the resulting sound is anything but familiar. "I have always been interested in how sound lives in spaces," Ross summarizes. "As I worked on this exhibition, I spent a great deal of time in my studio building instruments and exploring them. I recorded many, many hours of materials in this space and this collection of recordings is very much a summary of my sound practice to this moment." Dissonant Rhythms will tour Australian galleries for the next four years. The Ross Manning: Dissonant Rhythms exhibition, publication, tour, and Reflex In Waves are supported by the Australia Council for the Arts, and the IMA's Commissioners Circle.

Ross Manning's practice spans experimental music, new technologies, and immersive installations that often involve the play of light. Recent solo and group exhibitions include: Why Not Ask Again?, 11th Shanghai Biennale, China; Set in Motion, Govett-Brewster Art Gallery, New Plymouth, New Zealand; Ross Manning, Carriageworks, Sydney, Australia; Device for Messaging Nothing, Milani Gallery, Brisbane, Australia; Colour Shift, Loop, Seoul, Korea (all 2016); Light Play, University of Queensland Art Museum, Brisbane, Australia; GOMA Q, Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia; Interplay, The National Museum of Modern And Contemporary Art, Seoul, Korea; Imaginary Accord, Institute of Modern Art, Brisbane, Australia; The Kaleidoscopic Turn, National Gallery of Victoria, Melbourne, Australia (all 2015); and You Imagine What you Desire, 19th Biennale of Sydney, Australia 2014.

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Unearth is the first solo recording from Australian born, Berlin based composer and drummer Tony Buck in 15 years. Many would recognize Buck from his work with the iconic Australia avant trio The Necks. His history as a player however reaches much further than this engagement. Over the past few decades, Tony has cultivated a language that escapes easy categorization. With Unearth, he delivers his most accomplished solo composition. Built across several years, the record is the culmination of his approaches to intensive percussive, pulse, and explorations in compositional density. The architecture of this work is framed unsurprisingly around a core of percussion but also draws heavily on Buck's less known interests in guitar, synthesizer, and field recordings. These elements coalesce, haunting one another in an evasive manner that is inexorable, creating a slow moving dialogue of extreme dynamic interchange. Operating at a pace not dissimilar to what one might expect from a recording by The Necks, Unearth explores a gradual, swelling sound mass, teeming with details, cast across long dynamic arcs. The piece represents an exploration of and meditation on, the duality and paradox of time itself. Moments of fragile and infinitesimal sounds contrast with droning, dense layers; melodic and harmonic elements play out against backgrounds of texture and noise. The piece's elements operate together to render an impressionistic multiverse of worlds, unfolding and wrapping themselves around one another. The work exists as a hierarchical sound mass; a sedimentary layering of intensities, unearthed and unearthly.

Tony Buck is regarded as one of Australia's most creative and adventurous exports. Following studies and early experience in Australia he spent two years in Japan, where he formed PERIL with Otomo Yoshihide and Kato Hideki before relocating to Europe in the mid-nineties. He has since collaborated with most of the international improvisation and new music community and he has performed at major festivals and venues around the world. He has been involved in collaborations, performing or recording, with artists as diverse as Brian Eno, David Sylvian, Ilan Volov, John Surman, Ned Rothenberg, Lee Renaldo, Karl Hyde (Underworld), John Zorn, and Barre Phillips.

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Mike Cooper's output of the past half century has been described as "post-everything". It's a fitting phrase really when you consider he has been at the beating heart of so many critical musical moments; from the development of the blues touring circuit in the UK, through the growth of the folk scene and into the explosion of free improvisation that came to define a generation of UK musicians. Amidst it all, working at stitching these disparate forms into some kind of de-territorialized zone, was Mike Cooper. It's fitting that he explores the notion of journey on his latest full-length edition. Even more fitting that he examines the vessels that carry us on journeys. With Raft, Cooper charts his interests in ambient exotica and collides it with his research into various South Pacific musical traditions. The record extends his palette considerably, stretching away from the hypnagogic flows of his master piece Rayon Hula (2004), into a more oceanic setting. "Raft 21 - Guayaquil To Tully", for example, sets out a lilting rise and fall of harmony which erupts with spluttering electronics. Specifically inspired by Vital Alsar and William Wills, sailors who undertook some of the 20th century's most impressive solo voyages, Raft reflects upon the determination of the solo traveler. In a musical sense, Mike Cooper's work of recent years has very much reflected a determined solo traveler work ethic. In his commitment to travel alone, he has developed a range of strategies that he works against as a means of surprising himself and uncovering unfamiliar sonic relations. This approach has proved an incredibly fertile pursuit for Cooper, arguably producing some of his most affecting and engaging works, his Room40 albums Fratello Mare (RM 462LP, 2015) and White Shadows Of The South Seas (RM 454CD, 2013) amongst them. Raft is a vital record that sets its sights beyond the horizons of convention and in doing so reveals a perspective that is only available to lifelong voyagers such as Mike Cooper. From Mike: "Raft is my tribute to William Willis, Vita Alsar, Jack London, Robert Louis Stevenson, Louis Becke, Adolph Plate, Jacques Brel, FW Murnau and to all sailors, scribblers and drifters everywhere."

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Glitter In My Tears marks the 20th anniversary of Janek Schaefer's career as a recording artist, having now released 30 albums. His music is best comprehended through examining his time as an architect, and how that forged his innate sense for constructing tactile atmospheres, that navigate through unknown structures and forgotten spaces, creating profound new places. Over his career he has placed focus on the relationship between body, medium, and sound, creating a field of work that defies easy definition -- an architect of found soundscapes. For Schaefer, the medium plays as great a role as the message itself. He creates music that exposes the marks and memories of a variety of media, as presented in the 26 tracks on Glitter In My Tears, an eclectic album that celebrates the sense of overwhelming desolation held in the music -- a subdued cathartic opus. Each piece is a microcosm of haunted memory that unites to create a record of melancholic vignettes, and is easily his most critical recorded work to date. It's a record that reflects Schaefer's obsession with texture, atmosphere, and emotive acoustic states. Multiple interludes, like active memories, lace into one another. Their relation is temporal, and shaped very much by the settings in which they are encountered. Like the very best ambient music, Glitter In My Tears is an acoustic reflector of sorts, rebounding off the places and spaces within which it is experienced. This process means the record is never static, but in a constant state of discovery and rediscovery. Schaefer comments, "The album was composed over the last decade, in moments when most people are asleep in the dark, while the lucky ones are still dancing in the lights. It's a record of delightful dark emotions evolving from the evocative dreams we yearn for, with our feet firmly on the floor, always wanting more. An unfolding compendium of motifs and repetitive fragments, fading from the memories of our emotions. Sparkling lights glisten in the hidden shadows of our feelings, with outpourings of love falling through the depths of despair. It is based on a true story."

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"Cruel Optimism is a record that considers power (present and absent). It meditates on how power consumes, augments, and ultimately shapes two subsequent human conditions: obsession and fragility. . . . This edition owes its title and its origins to the wonderful text of the same name by American theorist Lauren Berlant. . . . In Cruel Optimism, I found a number of critical readings around the issues that have fueled so much of the music I have been making recently. Beyond her keen analysis of the relations of attachment as they pertain to conditions of possibility in the everyday, it was particularly her writing around trauma I found deeply affecting. It was a jumping off point from which a plague of unsettling impressions of suffering, intolerance, and ignorance could be unpacked and utilized as fuel over and above pointless frustration. When I made Wilderness Of Mirrors (RM 460CD/LP, 2014) clouds of unease were overhead. As I have worked through Cruel Optimism, what seemed an unimaginable future just a few years prior, began to present as actual. Over the course of creating the record, we collectively bore witness to a new wave of humanitarian and refugee crisis (captured so succinctly in the photograph of Alan Kurdi's tiny body motionless on the shore), the Black Lives Matter movement, the widespread use of sonic weapons on civilians, increased drone strikes in Waziristan, Syria and elsewhere, and record low numbers of voting around Brexit and the US election cycle, suggesting a wider sense of disillusionment and powerlessness. Acutely for me and other Australians, we've faced dire intolerance concerning race and continued inequalities related to gender and sexuality. The storm has broken and feels utterly visceral. Cruel Optimism is a meditation on these challenges and an encouragement to press forward towards more profound futures. Beyond the motivations forging the record, the process by which this edition was created was unlike many of my other records. Having worked largely alone in recent years, I wanted to shift away from that approach. . . . I count myself exceptionally fortunate to have been able to call on so many fine musicians in the making of this album. . . . I couldn't be more pleased to share Cruel Optimism with you." --Lawrence English, October 2016 Contributions in various forms from: Mats Gustafsson, Mary Rapp, Tony Buck, Chris Abrahams, Werner Dafeldecker, Norman Westberg, Brodie McAllister, Australian Voices, Vanessa Tomlinson, Heinz Riegler, and Thor Harris.

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From Lawrence English: "A few years ago, my dear friend and bandmate Jamie Stewart and I were talking about Swans. I started to mention how much I admired the utterly personal approach to guitar that Norman Westberg had developed on those early records and moreover how that had blossomed out so richly on this latest incarnation of the band. During the course of the conversation Jamie mentioned a CDR that Norman had passed to him, which collected a few pieces of solo work that Norman had been working on. I was instantly curious to hear these pieces and started to track down the recordings online. After some investigating I found Norman's CDRs available through an Etsy shop he had set up. I ordered one and a couple of weeks later, after I'd listened to that first CDR non-stop for a few days, I ordered all the others I could get my hands on. The first solo work I heard from Norman was this recording, Jasper Sits Out. I was instantly struck by the textural sensitivity he managed to create with nothing more than a guitar and some modest pedals. He managed to find a depth in what was a very limited palette and that impressed me greatly. The connections to his work with Swans was clear, in that his trademark relation to tonality was present. Instead of relying on volume to achieve this sonic state though, Norman's solo practice relied on a sense of swaying harmony and orbiting loops to create a tonally dense sound world that was very much personal, but overtly invitational to the listener. Jasper Sits Out, the title referencing the Westberg family mascot who has now sadly departed, reflects Norman's interest in minimal structures and the processes of iteration that are formed through the manipulation of looping fragments. Creating almost tidal surges across these pieces, Jasper Sits Out speaks to his abilities to contour sound in time. The lead track for example is truly oceanic in that is has a remarkable tidal flow of strumming textures that seem to sink below one another in an effortless wash of textural density. I could not be more pleased to be able to share this music through Room40. This edition comes completely remastered and features a bonus piece recorded exclusively for this edition. I encourage you to listen deeply."