ákos rózmann “12 stationer vi” double long playing record set

• 12 stations vi i (20:57)
  
  
• 12 stations vi ii (21:38)
  
  
• 12 stations vi iii (20:25)
  
  
• dörr med tårar (20:32)

ideologic organ press release...

soma007 /  ákos rózmann 12 stationer vi 2lp release date 10.04.2012 lona maros - soprano miklós maros, viveca servatius  - voices ákos rózmann - piano and voice dörr med tårar ákos rózmann - voice composed at ems elektronmusikstudion, stockholm by ákos rózmann. vinyl cut by rashad becker at dubplates & mastering, berlin janaury 2012. photos: gudrun edel-rösnes ákos rózmann (1939-2005) studied at the bártók conservatory in budapest and took diplomas in both composition and organ playing at the liszt academy. in 1971 he was given a scholarship to study electronic music in stockholm. his encounter with the electronic tools was a revolutionary experience for him and was to give a whole new direction to his work. soon he abandoned composition for acoustic instruments and was later to claim that instrumental music "had no future". for several years he earned his living as an organist at st. eric’s  catholic cathedral in stockholm, often using recordings of organ sounds made in the dead of the night as a source for his electronic works. rózmann often preferred monumental forms and several of his most prominent works, such as 12 stationer (12 stations) and mässa (mass), grew side by side over a long period of time. with a few rare exceptions, the conflict between good and evil was the basic theme in his works. the fight went on continuously in arenas and within power relations that would suddenly change. in rózmann’s imagined world, no room was given to chance. big powers, luminous or dark, would lie behind the most trivial everyday events. a large portion of tibetan buddhism gradually infiltrated his catholic weltanschauung, and 12 stationer (12 stations), composed between 1978 and 2001, is a musical interpretation of the tibetan wheel of life. the last part of the 12 stations, “old age and death”, is called “the celebrators” in rózmann’s version (completed in 2001). when asked what sort of celebration he meant he replied: “the merriment you hear is false, it is not genuine, it is empty”. dörr med tårar (door with tears) from 1988-89 is unmistakeably an homage to pierre henry and the title alludes to "variations for a door and a sigh". during one of my last encounters with rózmann he told me in depth about how henry’s influence was significant in leading him to choose electronic music. he regarded le voyage from the tibetan book of the dead to be the most important pioneering piece in the history of electronic music. ákos rózmann showed particular devotion to his work during more than thirty active years. during his lifetime he never sought, nor did he win any mentionable recognition. as a true modernist, he didn’t compose with an audience or the critics in mind. his mission was to compose for the future. it was his conviction that the mystical energy for compositional work should derive straight from god. it is a truly great thing to witness the publication of this album. mats lindström stockholm february 2012

eyvind kang “visible breath” long playing record

• visible breath (14:46)
  
• monadology (6:23)
  
  
• thick tarragon (16:64)

jessika kenney / eyvind kang “aestuarium” long playing record

• orcus pellicano (6:31)
  
• figura nox (5:18)
  
  
• unnamed figures (7:36)
  
• dies mei (3:26)
  
• towards solitude (3:47)

ideologic organ press release...

soma002 / jessika kenney & eyvind kang aestuarium lp release date 21.06.2011 recorded, mixed and mastered at the cove, vashon island, wa & aleph studios, seattle, wa by mell dettmer august 2005. vinyl cut by rashad becker at dubplates & mastering, berlin may 2011. jessika kenney (voice) eyvind kang (viola) written by jessika kenney & eyvind kang (1, 3, 4) & traditional (2, 5) speculum magorum by giordano bruno. jessika kenney is a vocalist known for her haunting timbral sense, as well as her profound interpretation of vocal traditions. eyvind kang is a violist for whom the act of music and learning is a spiritual discipline. aestuarium is a meditation on a psalm of lamentation and the unary tone in the metaphor of salt and fresh water, inspired by gaelic psalmery, tibetan notational gestures, and the microtonality of the tetrachord. recorded on the shore of colvos passage in 2005 by renowned engineer mell dettmer. stephen o'malley comments: amongst many other amazing pieces jessika & eyvind collaborated on sunn o)))'s "monoliths & dimensions" album, jessika leading the choir on the piece "big church" and eyvind composing the acoustic arrangements for "big church" & "alice". i learned an immense amount about music through these collaborations, specifically the idea of spectral music through research and discussion / reference points of composers such as grisey and murail. aestuarium is a beautiful piece of minimalist spectral music which has brought great pleasure to my ears over the years. originally released on cd by endless records 2005. ideologic organ curation and art direction by stephen o'malley manufactured and distributed by editions mego.

phurpa “trowo phurnag ceremony” double long playing record set

• [fundamental mantra of bon] (7:24)
  
• [introduction] (3:18)
  
• [the visualization] (3:43)
  
  
• [conferring empowerment & self-transformation i] (18:08)
  
  
• [ibid. ii] (14:29)
  
  
• [emanating the retinue of the deity] (5:06)
  
• [the charge to action] (4:34)
  
• [puja offering & praises] (7:24)

ideologic organ press release...

soma001 / phurpa trowo phurnag ceremony 2lp recorded in 2005 at melodiya studio, mixed and mastered in 2007-2008 at magihead studio. vinyl cut by rashad becker at dubplates & mastering, berlin may 2011. alexei tegin andrei grekov cheslav merk eduard utukin dmitry globa-mikhailenko this voyage began in the middle of the 1990's in moscow, when a group of artists and musicians led by alexei tegin and based at the legendary fabrique of cardinal art commenced their studies of traditional ritual music, drifting away from the field of contemporary electroacoustic and industrial music with the intent to delve deeper into the ancient musical cultures of the ancient egypt, iran and tibet. the original 2003 lineup of the project that emerged as a result was dubbed phurpa (one of the five tutelary deities of the father tantra in bon tradition), and all the members have carried on with their research in the field of bon and buddhist liturgies up to the present day. before buddhism reached tibet, local people had practiced involved shamanic rites derived from various ancestral cults. later on, circa the vi-ix century ad, a conflict between the local tradition, namely, the pre-buddhist religion of bon (which originates from central asia) and tantric buddhism (hailing from the north of india) gave birth to a unique cultural phenomenon known as tibetan buddhism, which combines an extensive metaphysical corpus and an advanced philosophical system with pristine ceremonial practices that reach down through many centuries. in the x-xi century ad the monastic ensemble came into being. it has got a lot in common with the chinese court ensembles of the tang dynasty; nevertheless, the tibetan ceremonial ensemble has preserved its authenticity and kept a large number of primordial elements stemming from the ancient tibeto-burmanese music intact to this day. a typical ensemble usually includes a pair of nga drums, several rolmo cymbals and a pair of gyaling oboes, as well as telescopic dunchen horns, dunkar shells and short wandun horns. one of the unique features of the tibetan monastic choir is a specific kind of overtone chanting, called "rgyud-skad", or the tantric voice, which is based on the principle of the singer's transmogrification during the so-called "chanting meditation". the ritual tibetan instruments as used by the ensemble include the following: dunchen, gyaling, silnyen, bub, damaru, kanling, nga, shang. the ensemble adheres to the rgyud-skad tradition of tantric overtone chanting. stephen o'malley comments: russian group led by the contemporary artist alexei tegin take on a traditional and ancient form of tibetan ritual music by the name of bon. while many familiar aspects will be revealed to the informed listener, the group phurpa takes the polyphonic singing style to a lower key and a slower pace. over the course of 4 lp sides this meditative listen unveils many spectral illusions and invigorating evolutions in sonic possibilities. originally released on cd by sketis music, russia, 2008. ideologic organ curation and art direction by stephen o'malley, manufactured and distributed by editions mego.