gravetemple “ambient/ruin” double long playing record set

• ambient/ruin (presented in 6 parts) [53:58]

ideologic organ press release...

soma015 / gravetemple ambient/ruin 2lp release date 29.04.2013 attila: chants & percussion & fuji sounds recorded on location in kamakura may 08. stephen: guitars & korg polysix recorded in paris & saalfelden june 08. matt: drums were recorded at 3 phase studios, melbourne by sam johnson march 06. oren: guitars, motorised cymbal, electronics, bells, tympani, atmos recorded at jerker house, melbourne & bjb, sydney 06-08. track iv live recordings: levontin 7, tel aviv by kostya gervis july 06. a/d editing & mix by oren june 08 at jerker house. mastered by joe talia at chinatown, melbourne november 012. cut by rashad becker at dubplates & mastering, berlin february 013. drawings by justin bartlett / vberkvlt. art direction & backline design: soma. gravetemple was formed in 2006 as a side-project of the band sunn o))) by oren ambarchi, stephen o'malley and attila csihar. the group formed initially to tour in israel summer 06, creating several recordings which eventually became "the holy down" album, which was released on southern lord recordings in 2007. at the time of the israel tour, the lebanon war started and was in action. in summer 08 the trio reformed together with the addition of australian drummer matt "skitz" sanders for a short european tour culminating at a headlining performance at supersonic festival in birmingham. in late 2009 the original trio reconvened for a special one-off concert at london's institute of contemporary arts. april 2013 marks the first set of live action since that period, and a new chapter in the ongoing system of the related network. "ambient/ruin" was created with the 2008 quartet, elements of tape collage, concrete, field recordings blend within a strong geographically diverse (parts were recorded in japan, australia, paris and israel) suite of heavy minimalist / maximalist music, black / death metal and drone. the culmination of these efforts become the music, literally, of sadistik exekution meeting phill niblock. gravetemple clearly adapted the aspects more abstract and experimental related to sunn o))) and has continued from that point, with continued ongoing focus on metaphysical construction of free music and will. the music became a geographically and metaphysically based effort. discography the holy down (southern lord, cd 2007) ambient/ruin (self released demo, cdr 2008) le vampire de paris (self released cd 2009) ambient/ruin (ideologic organ, 2lp 2013) "gravetemple is a sacred metaphor & psychedelic spiritual abstraction"

wold “freermasonry” double long playing record set

• opening
  
• sol
  
• free goat of leviticus
  
• annex axe
  
  
• dragon owl didacticism
  
• working tools for praxis
  
  
• dry love
  
• free eyes
  
• freermasonry
  
  
• concordant body

ideologic organ press release...

soma014 / wold freermasonry 2lp release date 29.04.2013 fortress crookedjaw: poetry, discourse, composition, bass, devices, synth, and vocals obey: guitar on sol and free eyes acrimonia: guitar, additional compositional work, and programming on annex axe recorded in regina, moose jaw, london, and providence produced, mixed, and mastered by wold visual art by s.f.j. nicholl concept by wold design by stephen f. o'malley freermasonry angle process has been severed, i wait with the goat’s secret. maul crushes skull on tiled ground. eigenheit; sky-eyed willful one, outside of them. statement from the wold communique sent out following the completion of freermasonry: lyrically freermasonry: consist of a series of poems and discourses. early on in freermasonry during sol, the mother allusion is referenced out of faust part two. it’s a small portion and short moment. faust does an invocation to the mothers, but the execution is as trickery through occult charlatanism and not truly believed ritual. goethe found passages about dark goddess figures known as mothers in the writings of plutarch. the metaphor is ambiguous, generally associated with creative dark force and will, but reared in a potent lie. i use it in correlation with screech owl as atheistic reactionary sentiment. of course there are many other aspects to freermasonry: - fortress crookedjaw this is all to say that freermasonry:— the obliterative sixth album from wold, the saskatchewan act led by the incredibly named fortress crookedjaw -- is ultimately enigmatic and entirely unknowable, an intersection of noise, metal, and electronics that doesn't yield to such plainclothes criticism. mean, dense and multivalent, with a lyrical conceit based on masonic symbolism and biblical scripture, it's the rare loud music that begs to be louder still if you're to have any chance of understanding it. freermasonry: is a case study in controlling the illusion of chaos, an elegantly constructed nightmare of sound where hearing one layer of serrated screams, static bursts, and feedback flares means you've missed some mass of activity somewhere else. weirdly seductive rhythms tumble beneath a laundromat of blown-out tones and crackling vocals, generally pulling your attention a dozen different ways. i've been listening to the album consistently for three months now, and somehow, i'm still surprised by what its 58 minutes sound like and accomplish. paradoxically disorienting and direct, freermasonry: is a constant tumult of surprising activity, more unforgiving than most everything in the noise, metal, and drone scenes, places where wold kind of fits. - grayson currin

jessika kenney / eyvind kang “the face of the earth” long playing record

• tavaf
  
• kidung
  
  
• ordered pairs i
  
• ordered pairs ii
  
• mirror stage
  
• the face of the earth

ideologic organ press release...

soma011 / jessika kenney & eyvind kang the face of the earth lp release date 10.12.2012 eyvind kang (viola, setar, electronics) jessika kenney (voice, percussion, electronics) all tracks composed by jessika kenney & eyvind kang. tavaf composed by jk based on a ghazal by attar (12th c.). tavaf and ordered pairs ii recorded by randall dunn at ada studios, istanbul july 2012. ordered pairs i, mirror stage and the face of the earth recorded by mell dettmer at studio soli, seattle june 2012 & st. bartholomeo’s, bologna. kidung and mirror stage recorded by mell dettmer at dympna’s, seattle 2012. vinyl cut by rashad becker at dubplates & mastering, berlin october 2012. photos nasa / gsfc / meti / ersdac / jaros, and u.s. / japan aster science team; courtesy nasa / jpl-caltech. ::::::::::: the second beautiful album by the duo of jessika kenney — a vocalist known for her haunting timbral sense, as well as her profound interpretation of persian vocal traditions, and eyvind kang — a violist for whom the act of music and learning is a spiritual discipline. ujung jari balung rondhoning kelapa wineng kuwa sayekti dadya usada the slender inner spine of the coconut leaf binding together, becoming useful the compositions on this album are about drawing the binary from the unary, like reflections from a mirror, and its inverse, the concealed unity. listener / reader, translation / composition, memory / imagination - reflecting each other, they open up a current which flows in a sudden oscillation. here we have followed a geological image; in the expression of the face of the earth (from pr. "rokh-e khåk"), a new spectrum of binaries is revealed. in the classical persian traditions, this can be found in the dynamic multiplicity exemplified by the term 'radif', used in both poetry and music, as both poeme and matheme. we would invite the listener as reader, by making our "reading cards" in the insert, to become a participant in the creation of meaning, including translation processes which seek corresponding musical atmospheres, for example: the central javanese wangsalan is a kind of riddle (two lines, 12 syllables each, divided 4 and 8), sung by the female vocalist in the gamelan, often using images of natural phenomena alongside descriptions of human characteristics, invoking atmospheres of primordial knowledge, humor, heightened sensation, philosophy, with much hidden wordplay and reference. - jk / ek

sir richard bishop “intermezzo” long playing record

• dust & spurs (2:14)
  
• reversionary tactics (2:31)
  
• dance of the cedars (2:29)
  
• inner redoubt (14:56)
  
  
• hump tulip (5:14)
  
• dhumavati (3:26)
  
• molasses (3:05)
  
• cranial tap (5:25)
  
• khajuraho (5:41)

june 2012 release ; ... major upgrade to this december 2011 “private” release, originally issued in an edition of 200 by rick himself as a no-frills cd-r, but here as a majestic high-spec lp ... ... covering a series of acoustic & electric guitar pieces (ranging from the long-form raga of “inner redoubt” to the backwards tape-psych ruminations of “reversionary tactics” to the oud-led “dance of the cedars”) the takeaway from this is that, yes, rick is still pretty much the bad-ass of pan-denominational music involving any sort of stringed instrument ; it’s an absolute joy to hear him stretch out in such a natural way ... ps. the spot-varnishing on this little number is quite elegant ::

nazoranai “なぞらない” double long playing record set

• feel the ultimate joy towards the resolve of pillar being shattered within you again and again and again (23:47)
  
  
• not a joy to come closer but so-called a sacred insanity has finally appeared (9:48)
  
  
• getting a bit blurry brush up your cartel and devote it to something (21:57)
  
  
• not to leave everything to the light outside of you but to be aware of the prayer 'what do i want to do?' that exists inside of you, and let that go out of you as a light, or things might get worse, no? (16:35)

ideologic organ press release...

soma009/ nazoranai なぞらない 2lp release date 03.07.2012 feel the ultimate joy towards the resolve of pillar being shattered within you again and again and again not a joy to come closer but so-called a sacred insanity has finally appeared getting a bit blurry brush up your cartel and devote it to something not to leave everything to the light outside of you but to be aware of the prayer 'what do i want to do?' that exists inside of you, and let that go out of you as a light, or things might get worse, no? keiji haino (guitar, vocals & synth) stephen o’malley (bass guitar) oren ambarchi (battery) recorded by chris fullard at gâité lyrique, paris 8th november 2011. edited by oren ambarchi in sydney january 2012. mixed by joe talia & oren ambarchi at chinatown, melbourne 8th february 2012. mastered by joe talia at chinatown, melbourne 17th april 2012. vinyl cut by rashad becker at dubplates & mastering, berlin april 2012. artwork: lars teichmann bathing girls & nymphos (detail, 2010, photos by annette apel), fever (2010, photo by martino gerosa). oren ambarchi has been an active colleague, we have collaborated on a number of sunn o))) projects, and also sunn o))) related projects, film scores, tours, meals etcetera over the years. he brought us to australia for the first time in 2004 (see soma010 notes), we toured israel with attila csihar as gravetemple trio in 2006. oren introduced us to haino-san in 2006 when sunn o))) played fimav festival in victoriaville quebec (oren was in the ensemble on that tour), in a stinky locker room (the venue was a hockey rig). had no idea what to expect but a few hours later he was on stage with us. it was one of those "what now" moments you never imagine happening having been a fan/follower of haino's playing, concerts and recordings over the years. 5 years later somehow we ended up as this trio. haino, oren and i were all in holland for one reason or another and decided to try it. i played bass for the first time on stage with this group. maybe it shows but the idea was a power trio backing up haino-san, with a lot of amplification. we had the chance to repeat the trio twice again so far, and this recording comes from a concert in paris november 2011. it's hard to describe the lessons through realtime communication in music with such a master of form, but needless to say they were much different than what i was expecting and beyond! proof again that expectations lead to dead ends. was a most challenging experience in real-time music. i feel incredibly honored to be part of this trio. - stephen o'malley

nazoranai “なぞらない” compact disc

• feel the ultimate joy towards the resolve of pillar being shattered within you again and again and again (23:47)
  
• not a joy to come closer but so-called a sacred insanity has finally appeared (9:48)
  
• getting a bit blurry brush up your cartel and devote it to something (21:57)
  
• not to leave everything to the light outside of you but to be aware of the prayer 'what do i want to do?' that exists inside of you, and let that go out of you as a light, or things might get worse, no? (16:35)

ideologic organ press release...

soma009/ nazoranai なぞらない cd release date 03.07.2012 feel the ultimate joy towards the resolve of pillar being shattered within you again and again and again not a joy to come closer but so-called a sacred insanity has finally appeared getting a bit blurry brush up your cartel and devote it to something not to leave everything to the light outside of you but to be aware of the prayer 'what do i want to do?' that exists inside of you, and let that go out of you as a light, or things might get worse, no? keiji haino (guitar, vocals & synth) stephen o’malley (bass guitar) oren ambarchi (battery) recorded by chris fullard at gâité lyrique, paris 8th november 2011. edited by oren ambarchi in sydney january 2012. mixed by joe talia & oren ambarchi at chinatown, melbourne 8th february 2012. mastered by joe talia at chinatown, melbourne 17th april 2012. vinyl cut by rashad becker at dubplates & mastering, berlin april 2012. artwork: lars teichmann bathing girls & nymphos (detail, 2010, photos by annette apel), fever (2010, photo by martino gerosa). oren ambarchi has been an active colleague, we have collaborated on a number of sunn o))) projects, and also sunn o))) related projects, film scores, tours, meals etcetera over the years. he brought us to australia for the first time in 2004 (see soma010 notes), we toured israel with attila csihar as gravetemple trio in 2006. oren introduced us to haino-san in 2006 when sunn o))) played fimav festival in victoriaville quebec (oren was in the ensemble on that tour), in a stinky locker room (the venue was a hockey rig). had no idea what to expect but a few hours later he was on stage with us. it was one of those "what now" moments you never imagine happening having been a fan/follower of haino's playing, concerts and recordings over the years. 5 years later somehow we ended up as this trio. haino, oren and i were all in holland for one reason or another and decided to try it. i played bass for the first time on stage with this group. maybe it shows but the idea was a power trio backing up haino-san, with a lot of amplification. we had the chance to repeat the trio twice again so far, and this recording comes from a concert in paris november 2011. it's hard to describe the lessons through realtime communication in music with such a master of form, but needless to say they were much different than what i was expecting and beyond! proof again that expectations lead to dead ends. was a most challenging experience in real-time music. i feel incredibly honored to be part of this trio. - stephen o'malley

norbert möslang “indoor_outdoor” long playing record

• indoor_outdoor (19:26)
  
  
• hot_cold_shield (18:46)

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

mats lindström “МИГ” long playing record

• МИГ (11:57)
  
• ibm i (2:52)
  
• one i (4:52)
  
  
• ibm ii (3:24)
  
• one ii (4:13)
  
• give us the tools and we will finish the job (8:52)
  
• children of paradise (4:21)

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.