Stadiums & Shrines
Silver

 

Ejecta’s “Silver” is beyond recognition in this amorphous hymn, yet flecks of it still rise and shimmer and whisper around. Droning out a perfectly good pop song is an underrated art. Patrick McDermott, who creates as North Americans and co-runs Driftless Recordings, has an uncanny handle on it—he’s taken CFCF to similar heights.

While drifting in the greyscale here, the label will soon release an ambient compilation, as well as the fascinating debut LP from Megafortress.

Somber and hopeful, “Live in Grace” finds Bill Gillim airing out vivid lines of forgiveness in his barest, most straightforward vocal performance to date. Not to be taken lightly, Believer is out November 4th.

Ashan - Grounding

 

Ashan: ‘The Gentle Way’, the sound of the universe’s vibration… for Sean Conrad, “a recognition that I am a part of everything and that I am living out of love”, he told Noah Klein recently on No Fear of Pop. The mind behind a myriad of releases, both as an artist and curator to cassette label Inner Islands, Sean displays a clear interest in finding peace through music. Today he gives us Grounding:

“Collecting and connecting the songs in this mix was inspired by the sensation I get sometimes of feeling my body, mind, and spirit all in one place, consciously. It happens not too often. But when it does I feel a certain stillness and presence that is mostly ineffable. These songs begin to touch on that feeling for me. And it is with great joy that I am sharing them.”

Popol Vuh – Hoere, Der Du Wagst
Satoshi Ashikawa – Still Park Ensemble
Colleen – Sun Against My Eyes
Miyata Kohachiro – Hon Shirabe
Six Organs of Admittance – When You Finally Return
Silver Antlers – Pine
Tim Hecker – Black Refraction

His is latest effort, Breathknow, is out now through Constellation Tatsu.

Dreams of Portugal with Sea Oleena

 

Sweet Nelita emerges, entering the harbor, the docks trembling beneath the domes of stationary clouds. A foreign feature upon Lisbon’s bay, the figurine, the stoic tiger, the papery pearl aloft the Atlantic.

Great shakes continue to oscillate the hills. Dust and debris, seismic circles surround Rossio Square. A city, quaking, radiant, since its first stone was laid.

Pedestrians look on from their trodden and tremulous promenade, nearly slipping into the sea.

Behind Nelita, amidst the lightly tossing tidal blue, a glassy wake trails aft, muted, as dormant as the tiger’s treasure.

Through the arched opening, dazzling from the grasps of the unwavering masts, this strange and sober payload emanates: a new stillness, imported.

____

Sea Oleena is Montreal-based artist Charlotte Loseth. Her stunning album Shallow is out September 30th through Lefse Records.

Flow

 

Safe music, less in the sense of ‘without risk’, more so: music that in itself evokes a certain safety. Japanese artist Atsuhito Omori designs this kind of music exceptionally well. Here, on the title track to his tape, from three slowly repeated chords Omori builds a sanctuary. Elsewhere over Flow, he utilizes piano to similar effect. Restrained yet, as suggested, capable of lingering well past its runtime.

The cassette sees release (each with a photo print taken by Omori, thank-you note, logo sticker, hand-stamped tea bag and guava candy) through Orchid Tapes, who have a pre-sale up today.

[image derived from a Klaus Leidorf photograph]

If I'm

 

Fluid, decisive, a bit sinister, “If I’m” signals the proper return of Sea Oleena. It opens Shallow, her forthcoming LP, and reveals a new breath in Charlotte’s body of work, her most powerful yet. Like the bloodied finger chosen as the album’s cover, “If I’m” is elegantly off, more than roses and window views, but thorns and negative space. The song abandons its groove halfway through, opting for an atmosphere which carries well into what follows.

Out September 30th, Shallow can be pre-ordered now through Lefse Records. And Charlotte recently performed a beautiful piece while hiking with Portals.