Stadiums & Shrines


A city fixed upon a spindle spinning. Walkways rounding the afternoon axis. Waterways teeming like eels at high tide on a tight surface. All points arc forward; skip a shadow, graze a brick, hover above the hands of time. Any sudden pinch or push sets dimensions adrift, perspectives anew, crossing thresholds thru arches in shuffling loops.

“Afternoon to you…” a merchant waves and smiles, stepping from the entrance to the cobblestone, tipping the plane sideways for the passerby’s reply; her shop’s flowers slide and re-align when she readjusts the gyres hang.

The next round, skipping past her shop — past the mirrored arrangements, the swiveling invitations, the expired openings — she suggests a different series of doors, to a different passerby, on a different plane. Greeting new ensembles, old townfolk, interloping trajectories interwoven rotations.

“Afternoon to you…”


Songwriters Julie Byrne and Eric Littmann are radiant spirits ever in motion (touring Portugal at the moment), and dear friends of S&S. Byrne’s 2014 LP Rooms With Walls and Windows drifted among our favorites, and her 2017 follow-up (produced with Littmann) held a space all its own. The mind behind projects Phantom Power and Steve Sobs, Littmann first connected with us on a 2011 visual mixtape. From there, together we’ve done shows and wandered around the city at night. Last week Gold Flake Paint shared their contribution to Dreams alongside a few stories.

They celebrate Dreams with us July 1st at Brooklyn’s National Sawdust.

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The cloudy, kinetic free jazz of Japan’s woodblue has held our curiosity for much of Spring’s confused bloom. On the last March’s episode, we featured a piece from the artist in collaboration with Hiroko Arima and Yudai Suzuki aka Multi purpose studio. Correspondence since yields a guest mix of original and unreleased work woodblue calls Gray City. At first blush, the 30-minute exchange is barely there, but as our mind’s eye calibrates to the fluttering improvisations, a metropolis of light percussion, found sounds, and whirling horns illuminate the atmosphere.

Stepping right into the fog, without introduction or city-wide alerts, Patient Sounds take over the last portion of the first hour (35 minutes onward), sharing an unmarked sampling from fresh releases.

Stitched into the second hour is a recent S&S guest set for the Marilis Hour on the wonderful Montréal-based internet radio station A few Dreams appear, alongside snippets from Yasuaki Shimizu’s Music For Commercials, a striking ode to the natural world by harpist Mary Lattimore, some woosy “vertical listening” from 81-year-old luminary trumpeter and composer Jon Hassell, and the modular synthesis water memories of Emily Sprague, who recently joined us at Moogfest to render the first ever live Dream interpretation.

Hour One: “Gray City” by woodblue
Gray city #6 at Myou Den
Gray city #7 at Narayama SATY
Gray city #8 at Hirokouji am 1:00
Gray city #3 at Araya (Multi purpose studio remix)
Gray city #2 at Route 46 (Multi purpose studio remix)
Improvisation session at “studio” featuring woodblue, Multi purpose studio, and tko (omu-tone)
Gray city #9 at Minami douri
Tam Tech
Blue Tuesday next future
[34:50 – 01:05:20] Patient Sounds

Hour Two: S&S set on The Marilis Hour
Blithe Field – Prelude
Yasuaki Shimizu – Tachikawa / Seiko 1
Dip in the Pool – On Retinae (East Version)
Anenon – Open
Meitei / 冥丁 – Sankai / 山怪
Cuddle Formation & Emily Reo – Bermuda (Yoshi’s Story)
Emily A. Sprague – Your Pond
Alexia Avina – Glove
Mary Lattimore – Never Saw Him Again
Jon Hassell – Dreaming
Bing & Ruth – Quebec (Climber)
Yumi Zouma – France (Grands Boulevards)
Terekke – wav1

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Kaitlyn Aurelia Smith - Dreams of Yugoslavia


Balkan decoys, elaborate and beautiful, affix, shielding a forgotten mist, a village; an archaeologist arches her architectural theory, squinting down at the photograph believed to be the only of its kind. The people, stoic and oversized, walk above rather than within… they must reside behind rather than inside, she figures. Water falls from the margin. But how — she scribbles into her fading field note book — how can it, with the homes so close. Perhaps they needn’t worry over being swept at all; nearly weightless, though real, floating, she determines, this paper town on a cliff.

Into focus: a frayed corner, peeling to another image beneath the first.

The archaeologist gently brushes off the original exposure, which, suddenly of its own accord, takes flight. Awestruck, she follows the winged photograph out the door, across a modest yard, beyond her wildest hallucinations, to the paper town, at water’s edge.

Snap, a camera echoes in the distance. A photograph ruffles its feathers.


Raised on the Orcas Island off the coast of Washington state, Kaitlyn Aurelia Smith is a modular synthesist who has composed sound for musicals, films, the hidden worlds of national parks, and in this project, an imagined world within a static image. In 2017, she released The Kid on Western Vinyl, and earlier this year announced her new label Touchtheplants. The inaugural offering, “Abstractions,” is based on the works of filmmaker Harry Everett Smith, and comes accompanied by “a comic about two friends — a plant and a human being — having an existential conversation.”

Smith recently joined us at Moogfest to discuss “the value of dreaming in the present, interdisciplinary collaboration across mediums, engaging the surreal, and escaping into the ambient beyond.”

Head to Noisey for the history of Dreams (out soon on Cascine) in a thoughtful feature by Colin Joyce, who said this one “feels like looking at a cloudy summer sky through a kaleidoscope.”

Dreams of Quebec


Peripheral maroons, blues, and ecrus stretch beyond the sled’s icy spray. Accelerating downward, cascading slope, past cheers, speed’s climbing silence.

The children glide through unknown clearance, piercing the cavern, the illustrious halls of Perce Rock illuminated by temporal projections. Witness to their time-lagged descent broadcast onto the arched rock face interior, seeing their locale moments before, as they skim through time, touring new and absolute fantasias.


Lead by pianist and composer David Moore, Bing & Ruth often swells into an ensemble as they did here in 2014 (two upright bassists, two clarinetists, a cellist and a tape delay tech). We’re thrilled to revisit the piece in advance of Dreams, a double LP compilation and 20-page gatefold book out this June on Cascine. It can be pre-ordered via Bandcamp and the label’s site.

On July 1st, we’ll celebrate the release at Brooklyn’s National Sawdust, featuring performances by Bing & Ruth and Julie Byrne with fellow Dreamers Yumi Zouma DJing soft sounds throughout, all organized by AdHoc Presents. Tickets go on sale this Friday, RVSP here.

Dreams of Quebec