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burlveneer-music · 1 month

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Green-House - A Host for All Kinds of Life - studiously avoiding the "New Age" label, they nonetheless represent the best qualities of that much-maligned genre

In an era of rampant, man-made climate chaos, “solastalgia” (the longing and distress experienced by individuals as a response to environmental change/degradation) has emerged as a useful, semi-viral concept — a catch-all term for the pervasive sense that the world as we know it is far from well, and only growing less so. But, for many of us, a problem, a trap, an ineffable hollowness, exists at the very crux of this concept/premise: how can we mourn (or even sense the loss of) that which we have never known? Especially for lifelong urbanites estranged from nature, who nevertheless grasp the severity and complexity of the problem—how might they remember? How might they mourn? Perhaps indirectly—that is to say, in an exploratory and non-dogmatic fashion—Green-House, a project birthed by Olive Ardizoni and now officially a duo project featuring long-time collaborator and confidant, Michael Flanagan, seeks to address this gap in understanding. Six Songs for Invisible Gardens, the debut Green-House EP whose 2020 release coincided with the depths of Covid-19 “lockdown,” responded to the rampant heartsickness of human and plant life, especially in non-rural areas. The packaging of the cassette release famously included wildflower seeds for the listener to scatter. This gesture (at once simple and daring, especially when one considers the logistical element) exists as testament to the sincerity and seriousness of Ardizoni’s convictions. Music for Living Spaces, the first full-length Green-House LP, followed in 2021— a refinement of the formula that enshrined Six Songs as a cult, eco-ambient hit. Out October 13, 2023 on Leaving Records, they have returned with the LP A Host For All Kinds of Life, a third entry in a series of releases whose titles have incidentally all revolved around the “for” construction: an unofficial canon of offerings, or maybe rather instructions as to how the music contained therein might, could, and should operate in/on the listener’s life and “living space(s).” Decidedly the most expansive Green-House release — one need only consider the LP’s title and the kaleidoscopic, fractal cover art designed by Flanagan—A Host For All Kinds of Life troubles the very notion of “ambient music,” a category with whom Green-House has always existed in some degree of tension. What if a song’s seeming softness constitutes its biting edge? What if easeful, contemplative pleasure can radically alter our mindset? Our very role as worldly subjects? Drawing on the works of Lynn Margulis and our burgeoning understanding of the evolutionary role of biological mutualism (associations between species in which both species benefit), A Host For All Kinds of Life is a deeply entrenched and politically grounded song suite. And there are indeed discrete songs here, with defined structure, momentum, and sway; see the gilded, sixties-evoking melodic arabesque of the record’s ninth and penultimate track, “Everything is Okay” (which incidentally ends with the release’s only human voice—a tender message left for Ardizoni by their mother). In conversation, Ardizoni speaks often of the centrality of joy—that Green-House’s very existence can be traced to a conscious decision they made to not only choose joy as an act of rebellion, but to find that joy in whatever plant life they could access in their immediate environment. In this sense, all of Green-House’s releases (and A Host for All Kinds of Life especially) embody a radicality that may elude the casual or first-time listener. To choose, model, and express joy in an ailing world requires courage, a courage that must be jealously guarded and constantly replenished. A Host For all Kinds of Life encourages the listener to slow down, take stock, tune in to the more-than-human world around them, and gather their courage and joy in light of the uncertainty to come. All songs written and produced by Olive Ardizoni and Michael Flanagan Bio by Emmett Shoemaker

#Bandcamp #Green-House #ambient #plant music #electronic #new age #leaving records #2023 #los angeles

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zef-zef · 5 months

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Don't let the radio with thier super polished ass wiggling shit tell you what's good. THIS is how hip Hop should sound!!!

Zeroh - Sworn Free from: Zeroh - BLQLYTE (Leaving, 2020)

#2020s #Zeroh #Electronic #Experimental Hip Hop #Abstract Hip Hop #Dark Ambient #Noise #Sound Collage #Cloud Rap #dark #abstract #avant-garde #atmospheric #mysterious #ominous #Leaving Records #2020 #week 46 2023 #Bandcamp

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grrlmusic · 1 year

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Colloboh - Saana Sahel

#music #Colloboh #Mystic You #Saana Sahel #leaving records #Bandcamp

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trevlad-sounds · 7 months

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Friday 6 October Mixtape 381 “Institute of Hope EXCLUSIVE” Retro Space Electronic Sleep Ambient Wednesdays, Fridays & Sundays. Support the artists and labels. Don't forget to tip so future shows can bloom.

Panic Girl-Feathers Of Hope 00:31

Milieu-Sleepership 03:03

Bryan Rohmer-My Corner of the Couch 12:04

x.y.r.-Interior Music 012 13:57

Elin Piel-Ciliary Body 22:00

Cub-cub-Sun Dome 28:47

ZENYA-Ariadne 33:38

arushi jain-Look How Far We Have Come 36:45

Gy0-Lisboa I 45:10

Fragile X-Saltwater Symphony 48:25

Apta-Close 55:50

Tim Shiel-Spirit Home 59:35

Space Ghost-New Day 1:01:25

Emily A. Sprague-Rain 1:03:45

Wilson Tanner-All Hands Bury the Dead 1:09:19

Natural Life Essence-Polinization 1:12:21

Cautionary Guides-The Pharmaceutical Institute 1:20:35

Kosmischer Läufer-Die Kapsel 1:24:21

The Hardy Tree-Mist on the Playing Fields 1:27:10

Pierre Dutour-Deer Forest 1:32:50

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disease · 5 months

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SEIHO | EXHIBITION | COLLAPSE, 2016

#audio #seiho #tech house #electro #experimental #collapse #leaving records #techno #electronic #music

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kindnessisstillhere · 2 years

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Even if a recording is made.

Who will these pages reach?

Is the internet really everlasting?

Or will it all be lost to time,

Not even a hard-drive to recover from?

Then again pages decompose,

Things are worn away by time,

And so much of history is lost.

How fair that the internet will too.

Even recordings can fail,

And time steals more than seen.

What will be left telling my tales?

Who might be trying to learn from it?

I wonder not on what the future holds,

But on how our times will be seen,

When this world becomes little more than history.

#history #future historians #leaving records #how will i be remembered #how will this be remembered #memory #poetry #poem

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sinceileftyoublog · 3 months

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Nailah Hunter Album Review: Lovegaze

(Fat Possum)

BY JORDAN MAINZER

Devotion has been a big theme throughout Nailah Hunter's musical life. Sure, much has been made about her early days; the daughter of a Belizean pastor, Hunter played drums and guitar and sang in the church choir. When she enrolled at CalArts for music and first took a harp lesson, she committed to the instrument, purportedly studying it for 6 hours a day. And over the past few years, she's diligently developed a cosmic ambient voice, releasing various EPs and singles and collaborating with everyone from Montreal shoegazers No Joy to generative music app Endel (via their Leaving Records series). But it's on her debut full-length album Lovegaze where the idea of being steadfast finds its way into every element, from Hunter's clear musical prowess to the songs' themes.

First and foremost, if some of her earliest material floated along, Hunter's process on Lovegaze seems much more deliberate. She wrote the demos while spending time on the coast of the English channel, on a borrowed Celtic harp, before fleshing out the songs with producer Cicely Goulder. From the get-go, Hunter's vocals hold their weight against the instrumentation, rasping over soft piano lines, ripples of cymbal, thumping percussion, and textured soundscapes on opener "Strange Delights". On "000", she draws out syllables to make her voice an instrument: "Sparrow on / Billow, yawn." On closer "Into The Sun", her soulful contralto is much more upfront in the mix, a complement to tactile harp textures as she sings of dreams of "beheadings and goose-feather bedding," giving off certain traditional folk vibes.

Overall, Lovegaze's songs' styles are much more varied than the rest of Hunter's discography to date. "Through The Din" builds into a trip hop sway over the top of a circular harp melody. "Finding Mirrors" cascades down a trap beat. Free jazz elements creep up on the title track and "Adorned", icy drum skitters and low-mixed saxophone, respectively, appearing like background characters you nonetheless can't take your eyes off of. Still, there are songs like "Cloudbreath", an instrumental foray back into ambient harp and synth collage, that recall her earliest work.

Perhaps the best part of Lovegaze, though, is Hunter's deft treatment of the work we put into ourselves, each other, and our surroundings. "Finding Mirrors" and "Bleed" portray the exhausting nature of love. On the latter, Hunter coos and cries, fighting for someone or something while longing for someone else to fight for her, desiring reciprocation. And standout "Adorned" is inspired by the human tendency for destruction--of natural spaces and other people--as Hunter sings with a vulnerable warble over a synth hum. "Space is my only relief / Space, my only reprieve," she sings. Later on in the song, she layers ghostly backing vocals as if to illustrate a collection of living things, together in their aloneness. With Lovegaze, Hunter moves beyond mere sound composition to build a cohesive world.

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#album review #nailah hunter #fat possum #lovegaze #fat possum records #no joy #endel #leaving records

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thejoyofviolentmovement · 5 months

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New Video: Nailah Hunter Shares Ethereal and Hauntingly Gorgeous "Strange Delights"

New Video: Nailah Hunter Shares Ethereal and Hauntingly Gorgeous "Strange Delights" @nailah_hunter @FatPossum @FatPossum @motormouthpr

Nailah Hunter is a Los Angeles-based multi-instrumentalist, singer/songwriter, composer and folk artist, who can trace the origins of her musical journey to the church: As the daughter of a Belizean pastor, she played drums, guitar and sang in the choir. Hunter continued to study music at CalArts, where she studied vocal performance and was given her first harp lesson. Associating the instrument…

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#art pop #Ben Lukas Boysen #electro folk #Leaving Records #Los Angeles CA #music video #Nailah Hunter Apple Maple Willow #Nailah Hunter Lovegaze #Nailah Hunter Strange Delights #New Video #singer/songwriter #Strange Delights #Video Review #Video Review: Nailah Hunter Strange Delights #Video Review:Strange Delights #women who kick ass

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feels-like-floating · 9 months

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Colloboh (a portmanteau of Collins Oboh) is a Nigerian-born, Los Angeles-based experimental producer and composer who has spent the past several years cultivating genre-spanning modular wizardry. We had a chance to chat with Colloboh about music as meditation, his summer residency with us, and trusting in the guide and the glide.

Let’s get started. What drives you to make music and what do you hope to share with it?

Collins: Making music is more like a meditation for me. It's just the way I express myself because I'm not the best at verbally expressing emotions, I'm still getting better at that. Music is an outlet for me to express myself.

What do you mean by music being a meditation?

Collins: It's like getting into a zone where I can spend hours listening to one loop. It feels meditative, you know? It's hard to explain. It's getting in a zone where your mind is clear, and you just flow into it. It's a way to practice intuition for me. When I'm making music, something pops out, and I'm like, "Okay, let's keep going with that idea." It's about flowing and practicing intuition, trusting the process of things.

Like being in a stable flow, I totally feel that. Is your interest in loops what got you into synthesizers?

Collins: Not necessarily synthesizers. I just like the idea of sculpting something. It's pretty analogous to being a sculptor with a marble piece: you have this raw thing that you can sculpt into anything you want. That's what attracts me to synthesis and using synthesizers. Starting with raw waveforms like sine waves, saw waves, and square waves, you can sculpt those sounds by filtering, adding delays, and other effects, combining different elements. It's just fun, you know?

Is there anything that led you to start playing with synthesizers in that way?

Well, I started making music with some friends back in high school. I was making beats for them, and we were in a little rap group. Then I watched this one YouTube video that convinced me to get into modular synthesizers. It's been about eight or nine years now. Shout out to YouTube.

Literally. It's free information. Love it. I heard that you used to study some kind of science before?

Oh yeah, I was into data engineering.

Do you feel like that has any crossover with your music practice?

I actually get asked that a lot, but it's funny because it feels like the other way around. When I was doing data engineering for a living, I was already into the synthesizer world. There are similar concepts, like having a sound source or data source, transforming it, and then outputting it in a different way. It was a concept I was already familiar with through electronic music. It actually helped my real life.

That's awesome. You do music full time now though, right?

Yeah, I do music full time. It's been almost a year now since I stopped my day job. We're trying to make it work. It's fucking hard as hell.

What kind of struggles have you experienced, especially with that transition?

Financial struggles, like most other artists. But we're making it work. You know, I have a lot of faith, maybe a foolish amount of faith (laughs), that things work out if you just follow the greater path, just quoting "Trust the Guide and Glide," a record by MatthewDavid. But I feel like it's a true thing. When I had my job, I was financially secure but not happy. Now it's flipped. I'm not financially secure, but I feel very happy and present. It's a priceless feeling. I'd rather have that than anything.

Yeah, I definitely feel there's truth to the idea that as long as you're true to yourself, you spread that energy and attract the right things. And maybe the money will come eventually.

Yeah, I believe in that. Mm-hmm.

I see that you grew up in the DMV area?

Yeah, I was born in Nigeria and then moved to Maryland when I was seven. I lived in Maryland until about a year and a half ago.

Do you feel like moving here influenced the way you see things or make music?

In a way, it's hard to say. I don't really feel like I'm fully American or fully Nigerian. I guess I'm just an Earth person (laughs). It's a benefit because I don't have to align with any particular thing. I can just be myself.

Growing up in Maryland was cool. There's a lot of diversity, especially in Montgomery County where I grew up. I'm grateful because I got to meet people from different cultures and befriend them. It influenced my taste in music and my openness to different things. Living in Baltimore for five years was a big part of my coming of age. I learned a lot about caring for others, empathy, and music experimentation. Baltimore has a huge experimentation scene. It was a big influence on my creativity.

How was your experience transitioning to LA? What kind of impression did you have of the city?

I feel very lucky because before I moved here, about a month or two before, I came and played one of the park shows for Leaving Records. That's when I got to meet everyone and actually met Sam. Sam was really nice and let me crash at her place (laughs). So I got so lucky because I met so many people at that show who I'm still close friends with today. Moving here made so much sense.

That's awesome.

Yeah, I feel so grateful. Everything feels so right. I have no doubt and no fear.

Being here has taught me a lot about community and the importance of having a shared mindset, shared vision, and uplifting each other to reach our fullest potentials. That's the vibe.

So sweet. For your residency, do you have any particular intention with regards to experimentation or challenging your current practice?

Definitely, I'll be challenged. The first show, which is gonna be on the ship, that's gonna be fucking amazing. I can't even believe that's happening now (laughs). It's been on my bucket list to go whale watching, and it was just a surreal thing when Noah was like, "Yeah, we're thinking about this whale watching thing." It was another moment where I was like, "Oh fuck yeah, this all feels so right." I'm so excited for that. I have no idea what I'm gonna play. I'm excited to see Green-House play, MatthewDavid is gonna play too. I'm probably gonna mess around with some of the aquatic microphones, but honestly I don't even really care too much about the music (laughs), I'm just excited for the whales.

And the next show, which is at the Hollyhock, I'm excited for that because I keep hearing how beautiful that space is. I've never been there. It's gonna be a good challenge because it's gonna be like a whole band with me, hopefully Mickey, Qur'an and Spencer. The three of us are gonna play my latest EP front to back, with some other songs here and there.

Saana Sahel is a gorgeous EP. It feels very elegant.

Thank you, I appreciate it. I made that while I was in LA and I was going through a breakup. It was kind of chaotic, but also there were moments of crazy energy and moments of super peacefulness, which is how my emotions were when I was going through all that shit. Living in LA for the first time, going through lots of changes, quitting my job, breaking up, moving to a new place. It's been a huge life change, but also just a blessing.

Totally. Through change, you kind of disintegrate and rebuild yourself, and then you're this new version of yourself, and it feels really exciting and sad. What about your last show in the Japanese Garden?

I'm actually gonna play a solo version of what I play with the whole band, but I'm gonna be on the side, and my friend Stephanie is gonna be doing a dance performance. So it'll be more of an elegant, low-key thing where she dances to it. She's one of my favorite dancers, and I'm just excited to see what she creates.

There's also a legendary poet named Kamau Daaood, and I'm trying to see if I can get him to read some poetry for that last show. So I would do this solo set with my friend Stephanie dancing, and then it would end with a poetry reading from Kamau Daaood. I feel like it would be a special thing, just to pay homage to the Pan African People's Arkestra, which has been super influential to my recent music. From their actual music to my friends like Mickey and Qur'an and Leaving Records. He can have all the money honestly.

It's literally just a labor of love, and I'm excited for the experience of it.

Do you have any particular relationship with the outdoors or sound in the outdoors?

I love being outdoors. The ocean, especially. It's a grounding space for me. I was at the beach two days ago, felt like I was recalibrating my energy. Now I sound like an LA girl.

(Laughs) You're centering yourself in Mother Nature.

But honestly, being by the ocean feels like that. Actually, my EP "Saana Sahel" on vinyl, the tracks are split into two sides. The first three tracks remind me of the desert, and the last three tracks remind me of the ocean. Those are two important spaces for me. When I moved to LA, I had psychedelic experiences in the desert, and I've always loved the ocean. It's one of the main reasons I moved here. The ocean reminds me of my ex because we both loved it. It holds a lot of personal meaning.

They're both endless expanses but extreme opposites of each other.

Beautifully said. I might steal that.

Go for it (laughs). What does "Saana Sahel" mean?

It's something I made up, actually. Making music is like a meditative space for me. "Saana Sahel" represents this place I strive to reach inward, a place of greater peace, higher self, and responsibility as a human. It's a made-up place, like a Mount Everest, where I'm working towards.

Like enlightenment.

Exactly.

Do you have a favorite plant?

Damn, I love that question. That's tough. Well, I like hydrangeas. I remember when I worked at Home Depot in the plant section, I learned about hydrangeas. They're pretty.

I also like thyme. It's an herb, but it's strong. I planted it, and it made it through the winter. Like, bitch you won't die. It's just always there, I never have to worry. When a recipe needs thyme, I can just go outside. Not like fucking parsley, which might be dead. (Laughs)

It's reliable. It shows up. Is there anything else you want to add or talk about? Anything on your mind?

Yeah, I feel really grateful for this. The Floating community, the staff at Floating, shout out to Noah, Nina, Sam, and everyone else. You guys make this a no-brainer.

Aww, thanks. That's what we try to do.

Hopefully you guys get a bigger budget one day. It's tough right now for what we're trying to do, but if we all believe in it and don't give up, that's what matters.

For sure. Something will manifest, even if it's not what we can imagine right now.