New Recordings from On Growth and Form and Core of the Coalman

On Growth and Form, Archipelago in Natural Colours, volume 1 (

Archipelago in Natural Colours volume 1 is the first in a series of planned releases of electronic sound compositions derived from my large-scale (25.4 channel) sound environment Island in Natural Colours, presented several times in installation form between 2017 and the present (for example here and at //hcmf ).  Material from the sound installation has been redesigned and remixed for binaural listening (on headphones).  The experience is different from the installation, of course, but nevertheless you are welcome to treat this as an environment and live with it for a while.  There isn’t a lot of figure, but the ground is ever-changing.  As with the installation version, visitors to this island will soon notice that the sound-island walks around them, rather than what normally happens on a visit to an island (you walk around it). Dropping in and out, playing on repeat for weeks, or listening to the tracks in random orders are all recommended activities.  While some of these tracks function with semi-normalcy as music, others are rather suggestive of environments. Perhaps even environments for sleeping.  Or perhaps furniture but if so, I think you will find it to be interesting and living furniture.

Core of the Coalman, Natural Objects: (

Natural Objects,  presented here for the first time digitally.  Originally written and released on cassette in France, around the same time as Amphibious Radost was released in Japan, side A consists of the most reductive and boiled-down treatment of the sound pattern that also forms the basis of my Kirigirisu Recordings‘ release Amphibious Radost( as well as the Little Otter in Big World (from the Klang Und Krach release Plastova Okna a Dvere, .  Side B contains Wrapped in Plastic, a sort of reflection on the opening scene of the original Twin Peaks series, along with a biofeedback experiment performed with help from international man of mystery Romano Krzych. The extremely reductive nature of side A’s maximal-minimalism (reminiscent of Tony Conrad or Charlemagne Palestine) provides one kind of immersive yet focused time stream, while side B’s ergodic action eventually approaches harsh noise and another aspect of sound that is at once object and environment.  Fans of the earlier Core of the Coalman tape, Stain ( originally released on Total Vermin records might also sense the relationship between approaches taken with keyboards in these earlier compositions to those taken with viola on Natural Objects.



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