Laura Luna Castillo // Tuberose TAPE

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Longform Editionsからも作品を発表しているメキシコ・プエブロの写真家 / 映像作家 / 音楽家Laura Luna Castilloの新作が米国アンビエントレーベルWhited Sepulchreより2020年11月リリース。心象風景を想起させるシンセアンビエント6曲を収録。

Whited Sepulchre Recordsその他作品はこちら /// Click here to see more Whited Sepulchre Records releases available at Tobira.

------------------------

Edition of 100.

Laura Luna Castillo is a multi-disciplinary artist and musician currently residing in Puebla, Mexico. Through these convergences of time-based media, music, sculpture and narrative languages, she explores the mechanisms of memories, imagination and the perception of inhabited spaces through multiple angles and temporalities. Laura's main concern is to investigate the ways in which we experience and think of the places that we inhabit and reclaim as well as the objects that surround us. Thus, time-based installations and kinetic interventions form one of the core components in her practice.
- Whited Sepulchre Records

"I was inspired by the book “The art of perfumery, and method of obtaining the odors of plants” by G.W. Septimus Piesse from 1857 in combination with the exploration of the study of time, memory loops, ephemeral and elusive memories.

The fascination with the art of perfumery comes from the analogy of time and sound as being ephemeral and volatile, fragments of terror and wonderment are interwoven, treated like fragrances of memories that are extracted as an attempt against entropy. Each track is made as if constructing a perfume or a smell, with their titles referencing ingredients and processes used in the extraction and entrapment of essences, sometimes paradoxically violent and beautiful.

Time would feel suspended and unreal, and in a way, perhaps the closest we come to trapping memories and time is through the art of trapping smells, it could be though of as a way of time-traveling.

As with my previous albums, I have thought of a narrative that is entwined across the album, each track is like a character made up of extremely volatile memories, a futile pledge against entropy capturing imagined narrative essences. "
- Laura Luna Castillo

Artist : Laura Luna Castillo

Label : Whited Sepulchre

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Whited Sepulchre Recordsその他作品はこちら /// Click here to see more Whited Sepulchre Records releases available at Tobira.

------------------------

Edition of 100.

Artist : Laura Luna Castillo

Label : Whited Sepulchre

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Edition of 300. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eA1 Psalm 138:7 2:36\u003cbr\u003eA2 It's Okay To Let me Go 3:32\u003cbr\u003eA3 Pick And Choose 0:42\u003cbr\u003eA4 Members Don't Get Weary 5:55\u003cbr\u003eB1 Day By Bay 2:47\u003cbr\u003eB2 Angels 7:03\u003cbr\u003eB3 I Will Always Miss You 3:58\u003cbr\u003eB4 Revelations 7:16-17 2:22\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eText excerpt by Whited Sepulchre Records:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"AMEN is the 3rd release by bassoonist \/ composer \/ producer Joy Guidry. Representing a major step up in her ability to fully realize and embody a sound and concept, AMEN moves from rousing, rafter-splitting spiritual jazz and gospel compositions to ambient compositions that create a powerful statement of communal healing and peace. 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アメリカ・オークランドのポストインダストリアル作家Field of Fearが、2023年9月に同国アンビエントレーベルWhited Sepulchre Recordsから300部限定でリリースしたレコードです。ノイズ・ドローン〜ドローン・テクノ8曲を収録。 Whited Sepulchre Recordsその他作品はこちら /// Click here to see more Whited Sepulchre Records...

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Includes DL code.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhited Sepulchre Records:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eIt's hard to parse exactly what you're listening to when you immerse yourself in Jason Doell's new recording, Becoming In Shadows ~ Of Being Touched. The old adage about never judging a book by its cover may often hold true but somehow Xuan Ye's beautiful design speaks volumes about both the sonics and structure of this bewildering document by the Toronto-based composer and sound artist. Though the imagery is blatantly computer-generated, it's rife with references to vegetation, bones, water, and buildings. Similarly, one of the most beguiling aspects of Doell's music here is the friction that builds up between its organic surface and the elusive, unruly quality that permeates just about everything else. Piano is audibly the album's lone instrument, but even with that anchor of familiarity, one still finds themselves confronted with something disorienting, but utterly captivating—tangled layers, meandering forms, subtle idiosyncratic manipulations. Doell's performance brims with improvisatory warmth and bears the unmistakable physicality of a human interacting with an instrument however there's another far less comprehensible force at play—a mystifying undertow that pulls the ear toward murky sonic depths.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe process that birthed this album—his vinyl\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e debut—unquestionably plays a key role in establishing the feverish liminal space it inhabits. While in a winter residency at the Banff Centre, Doell began each day limbering up with some freeform playing at the piano that had been provided to him. The instrument offered the perfect tool for such open-ended forays —as a guitarist primarily, it liberated him from his internalized technical vocabulary, and yet as a seasoned composer he also had enough keyboard facility to get lost in his own spontaneous playing. From the outset, these daily sessions were recorded, just in case they yielded raw compositional material. Yet, as he captured more of these improvisations the motivation behind the exercise shifted from warm-up to explicitly accumulating piano recordings. This culminated in him digging out a dilapidated piano that had been buried in a snow bank expressly to record it.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIt wasn't until he returned home that he discovered just what to do with all the raw footage he had collected. Doell had been developing an algorithmic compositional tool for himself that would generate music based on a user-defined catalogue of sounds and various parameters. Each of the three pieces found on Becoming In Shadows ~ Of Being Touched was spawned through exploring this very software. Yet in spite of them being produced through this process, Doell seems to have little interest in making this about the technology. Instead, he lets the distinctly alien character of computerized decision-making imprint itself upon the material to spellbinding effect.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe album is due for release April 21, 2023 with noted American imprint Whited Sepulchre, home to music from Joy Guidry, Endlings (the duo of Pulitzer Prize-winner Raven Chacon and John Dieterich), Lake Mary, and claire rousay.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOver the past 15 years, Jason Doell has become an integral member of Canada's experimental and contemporary music community. Though he remains an active participant among strictly musical circles, his areas of interests distinguish him given their tendency toward the interdisciplinary, including site\/context-specific works, live coding, and signal chain manipulation. These preoccupations have yielded a number of major projects such as beneath a landscape, a 30-minute open-instrumentation work commissioned by Toronto's INTERsection festival and unveiled in a subway station, the sprawling online interactive work TURNONANDBENOTALONE presented by the Music Gallery, and the algorithmic piece to be talking about something that is unlikely to happen which debuted at MaerzMusik in Berlin. He is a member of the duo Invisible Out alongside multidisciplinary artist Xuan Ye (who provide this album's cover art) and the trio Nidus with writer\/ sound artist Marc Couroux and Matthew Ramolo (AKA Constellation Records' Khôra). Doell has also worked with several notable ensembles and performer such as Quatuor Bozzini, contaQt, Continuum, Thin Edge New Music Collective, junctQín, Yang Chen and Cheryl Duvall. In 2014 he was the winner of both Toronto Emerging Composer award in and NonClassical's International Composers’ Competition.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist : Jason Doell\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLabel :Whited Sepulchre Records\u003c\/span\u003e\u003c\/p\u003e","published_at":"2023-05-23T15:49:36+09:00","created_at":"2023-05-22T14:41:14+09:00","vendor":"Tobira Records","type":"","tags":["contemporary \/ sound poetry","drone","lp","Whited Sepulchre Records"],"price":378000,"price_min":378000,"price_max":378000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":44247316300026,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Jason Doell \/\/ becoming in shadows ~ of being touched LP","public_title":null,"options":["Default Title"],"price":378000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/be1_12b9c00c-419f-4c28-86f1-1607d4e1d207.jpg?v=1684734076","\/\/tobirarecords.com\/cdn\/shop\/files\/be2_6894c67e-7354-4cbe-8b88-41e749e4b1fe.jpg?v=1684734076"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/be1_12b9c00c-419f-4c28-86f1-1607d4e1d207.jpg?v=1684734076","options":["Title"],"media":[{"alt":null,"id":32002125824250,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/be1_12b9c00c-419f-4c28-86f1-1607d4e1d207.jpg?v=1684734076"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/be1_12b9c00c-419f-4c28-86f1-1607d4e1d207.jpg?v=1684734076","width":700},{"alt":null,"id":32002125857018,"position":2,"preview_image":{"aspect_ratio":1.412,"height":850,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/be2_6894c67e-7354-4cbe-8b88-41e749e4b1fe.jpg?v=1684734076"},"aspect_ratio":1.412,"height":850,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/be2_6894c67e-7354-4cbe-8b88-41e749e4b1fe.jpg?v=1684734076","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eカナダ・トロントの実験音楽家Jason Doellが、2023年4月にアメリカ・オハイオの実験／アンビエントレーベルWhited Sepulchre Recordsから300部限定でリリースしたデビューレコードです。\u003c\/p\u003e\n\u003cp\u003eピアノとコンピューターによるエレクトロアコースティック〜ドローン3曲を収録。DLコード付属。 \u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3756546338\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cspan\u003eWhited Sepulchre Recordsその他作品は\u003c\/span\u003e\u003ca style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" href=\"https:\/\/tobirarecords.com\/collections\/whited-sepulchre-records\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/whited-sepulchre-records\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\/\/\/ Click \u003c\/span\u003e\u003ca style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" href=\"https:\/\/tobirarecords.com\/collections\/whited-sepulchre-records\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/whited-sepulchre-records\"\u003ehere\u003c\/a\u003e\u003cspan\u003e to see more \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eWhited Sepulchre Records releases available at Tobira.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e--------------------------------------------\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEdition of 300. Includes DL code.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhited Sepulchre Records:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eIt's hard to parse exactly what you're listening to when you immerse yourself in Jason Doell's new recording, Becoming In Shadows ~ Of Being Touched. The old adage about never judging a book by its cover may often hold true but somehow Xuan Ye's beautiful design speaks volumes about both the sonics and structure of this bewildering document by the Toronto-based composer and sound artist. Though the imagery is blatantly computer-generated, it's rife with references to vegetation, bones, water, and buildings. Similarly, one of the most beguiling aspects of Doell's music here is the friction that builds up between its organic surface and the elusive, unruly quality that permeates just about everything else. Piano is audibly the album's lone instrument, but even with that anchor of familiarity, one still finds themselves confronted with something disorienting, but utterly captivating—tangled layers, meandering forms, subtle idiosyncratic manipulations. Doell's performance brims with improvisatory warmth and bears the unmistakable physicality of a human interacting with an instrument however there's another far less comprehensible force at play—a mystifying undertow that pulls the ear toward murky sonic depths.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe process that birthed this album—his vinyl\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e debut—unquestionably plays a key role in establishing the feverish liminal space it inhabits. While in a winter residency at the Banff Centre, Doell began each day limbering up with some freeform playing at the piano that had been provided to him. The instrument offered the perfect tool for such open-ended forays —as a guitarist primarily, it liberated him from his internalized technical vocabulary, and yet as a seasoned composer he also had enough keyboard facility to get lost in his own spontaneous playing. From the outset, these daily sessions were recorded, just in case they yielded raw compositional material. Yet, as he captured more of these improvisations the motivation behind the exercise shifted from warm-up to explicitly accumulating piano recordings. This culminated in him digging out a dilapidated piano that had been buried in a snow bank expressly to record it.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIt wasn't until he returned home that he discovered just what to do with all the raw footage he had collected. Doell had been developing an algorithmic compositional tool for himself that would generate music based on a user-defined catalogue of sounds and various parameters. Each of the three pieces found on Becoming In Shadows ~ Of Being Touched was spawned through exploring this very software. Yet in spite of them being produced through this process, Doell seems to have little interest in making this about the technology. Instead, he lets the distinctly alien character of computerized decision-making imprint itself upon the material to spellbinding effect.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe album is due for release April 21, 2023 with noted American imprint Whited Sepulchre, home to music from Joy Guidry, Endlings (the duo of Pulitzer Prize-winner Raven Chacon and John Dieterich), Lake Mary, and claire rousay.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOver the past 15 years, Jason Doell has become an integral member of Canada's experimental and contemporary music community. Though he remains an active participant among strictly musical circles, his areas of interests distinguish him given their tendency toward the interdisciplinary, including site\/context-specific works, live coding, and signal chain manipulation. These preoccupations have yielded a number of major projects such as beneath a landscape, a 30-minute open-instrumentation work commissioned by Toronto's INTERsection festival and unveiled in a subway station, the sprawling online interactive work TURNONANDBENOTALONE presented by the Music Gallery, and the algorithmic piece to be talking about something that is unlikely to happen which debuted at MaerzMusik in Berlin. He is a member of the duo Invisible Out alongside multidisciplinary artist Xuan Ye (who provide this album's cover art) and the trio Nidus with writer\/ sound artist Marc Couroux and Matthew Ramolo (AKA Constellation Records' Khôra). Doell has also worked with several notable ensembles and performer such as Quatuor Bozzini, contaQt, Continuum, Thin Edge New Music Collective, junctQín, Yang Chen and Cheryl Duvall. In 2014 he was the winner of both Toronto Emerging Composer award in and NonClassical's International Composers’ Competition.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist : Jason Doell\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLabel :Whited Sepulchre Records\u003c\/span\u003e\u003c\/p\u003e"}

カナダ・トロントの実験音楽家Jason Doellが、2023年4月にアメリカ・オハイオの実験／アンビエントレーベルWhited Sepulchre Recordsから300部限定でリリースしたデビューレコードです。ピアノとコンピューターによるエレクトロアコースティック〜ドローン3曲を収録。DLコード付属。 Whited Sepulchre Recordsその他作品はこちら /// Click here to see more Whited Sepulchre Records releases...

¥3,780

クイックビュー {"id":7947706269946,"title":"Bailey Miller \/\/ love is a dying TAPE","handle":"bailey-miller-love-is-a-dying-tape","description":"\u003cp\u003eアメリカ・オハイオのシンガーソングライターBailey Millerが、2023年2月に同国アンビエント〜ポップレーベル\u003cspan data-mce-fragment=\"1\"\u003eWhited Sepulchreから100本限定でリリースしたカセットです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eアコギを主体としたミニマルなベッドルームフォーク11曲を収録。DLコード付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eマスタリングはSean McCannが担当しています。 \u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3648544352\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/track=1427987293\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e \u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3648544352\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3648544352\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/track=3924419983\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cspan\u003eWhited Sepulchre Recordsその他作品は\u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/whited-sepulchre-records\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/whited-sepulchre-records\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\/\/\/ Click \u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/whited-sepulchre-records\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/whited-sepulchre-records\"\u003ehere\u003c\/a\u003e\u003cspan\u003e to see more \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eWhited Sepulchre Records releases available at Tobira.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-------------------------------------\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEdition of 100.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhited Sepulchre Records:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eWhile producer, singer, and multi-instrumentalist Bailey Miller’s debut full-length, Still Water, found great depth in the juxtaposition and interweaving of tactile instruments with otherworldly sounds, Miller’s\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003efollow-up love is a dying follows a considerably more direct path to intention and meaning.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eNot unlike Richard Youngs, Miller explores minimalist, meditative songwriting to great effect and in a way that seems to proceed as economically as possible from each song’s emotional germination. One has the sense that the work is necessary, that these songs serve fundamentally to process the realities of life and loss, that in the playing, Miller finds comfort and meaning.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eMany of the songs on love is a dying are in fact first takes, recorded spontaneously in the very earliest stages of development. The record itself is therefore both seed and blossom. Miller says that these songs\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e“resisted being re-recorded” and that “once a song seemed to work its magic and help me to process an event or an emotion, I let that song be done.”\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eFrom one song to the next, Miller trades instruments. On “cul-de-sac,” she turns careful phrases over and over on an electric baritone guitar (which makes multiple appearances throughout\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e the record). “You’re so\u003cbr data-mce-fragment=\"1\"\u003eclose \/ and I should be too \/ but nothing’s getting through to you.” There is a sense of emotional frustration but also an opening through acceptance: “But I’m out of hope \/ for being seen. \/ How do you\u003cbr data-mce-fragment=\"1\"\u003enot see me? \/ The car pulls up to the cul-de-sac \/ and then it fades to black \/ then it fades to black.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eNot only are most of the songs on love is a dying first takes, but the record is sequenced in the order that the songs were written. It is a story emerging. The title, Miller says, is meant to express a powerful\u003cbr data-mce-fragment=\"1\"\u003edichotomy. Love is a kind of dying whether that love is a successful, loving relationship or if it means heartbreak and grief. In the former case, one experiences a dying of oneself and expectations of another,\u003cbr data-mce-fragment=\"1\"\u003ewhile the latter brings painful loss.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs on her previous work, the focus here is Miller’s voice, spare and clear. It is a voice that disarms and communicates intensity largely through a power withheld, implied. Fans of Tiny Vipers and Cross\u003cbr data-mce-fragment=\"1\"\u003eRecord and Sybille Baer will find this quality familiar and easy to love, while all of Miller’s work and processes are shot through with a spiritual charge reminiscent of David Åhlen. Miller counts philosopher\u003cbr data-mce-fragment=\"1\"\u003eSimone Weil among her most crucial influences and discerning listeners will certainly understand that Miller’s preoccupations with mortality and transfiguration are complex, even theological.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOn “goldfinch,” Miller accompanies her crystal clear singing with only a gentle, looped recording of frogs singing and the effect is one of profound timelessness like Shirley Collins’ Crowlink or Elephant\u003cbr data-mce-fragment=\"1\"\u003eMicah’s Genericana. And here “timelinessnes”s means not only having qualities from some time now past, but from any distant human future to come, including perhaps the very moment when one is hearing\u003cbr data-mce-fragment=\"1\"\u003ethis music for the first time. Miller’s depth and directness, her ability and willingness to experiment with processes sees to it that her musings will feel shimmeringly potent and intimate wherever and whenever there is a mind to wonder.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist : Bailey Miller\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLabel : Whited Sepulchre Records\u003c\/span\u003e\u003c\/p\u003e","published_at":"2023-04-05T07:27:59+09:00","created_at":"2023-04-01T11:40:27+09:00","vendor":"Tobira Records","type":"","tags":["folk \/ left-field pop","tape","Whited Sepulchre Records"],"price":215000,"price_min":215000,"price_max":215000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":44139530354938,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Bailey Miller \/\/ love is a dying TAPE","public_title":null,"options":["Default Title"],"price":215000,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/lo1_cb3e15a7-12bb-453b-a388-aa81a37c14d3.jpg?v=1680316828","\/\/tobirarecords.com\/cdn\/shop\/products\/lo2_21aeaf28-3931-491b-9bfd-4189aa42b0b4.jpg?v=1680316829"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/lo1_cb3e15a7-12bb-453b-a388-aa81a37c14d3.jpg?v=1680316828","options":["Title"],"media":[{"alt":null,"id":31763900039418,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/lo1_cb3e15a7-12bb-453b-a388-aa81a37c14d3.jpg?v=1680316828"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/lo1_cb3e15a7-12bb-453b-a388-aa81a37c14d3.jpg?v=1680316828","width":700},{"alt":null,"id":31763900072186,"position":2,"preview_image":{"aspect_ratio":1.341,"height":895,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/lo2_21aeaf28-3931-491b-9bfd-4189aa42b0b4.jpg?v=1680316829"},"aspect_ratio":1.341,"height":895,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/lo2_21aeaf28-3931-491b-9bfd-4189aa42b0b4.jpg?v=1680316829","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eアメリカ・オハイオのシンガーソングライターBailey Millerが、2023年2月に同国アンビエント〜ポップレーベル\u003cspan data-mce-fragment=\"1\"\u003eWhited Sepulchreから100本限定でリリースしたカセットです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eアコギを主体としたミニマルなベッドルームフォーク11曲を収録。DLコード付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eマスタリングはSean McCannが担当しています。 \u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3648544352\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/track=1427987293\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e \u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3648544352\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3648544352\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/track=3924419983\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cspan\u003eWhited Sepulchre Recordsその他作品は\u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/whited-sepulchre-records\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/whited-sepulchre-records\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\/\/\/ Click \u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/whited-sepulchre-records\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/whited-sepulchre-records\"\u003ehere\u003c\/a\u003e\u003cspan\u003e to see more \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eWhited Sepulchre Records releases available at Tobira.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-------------------------------------\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEdition of 100.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhited Sepulchre Records:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eWhile producer, singer, and multi-instrumentalist Bailey Miller’s debut full-length, Still Water, found great depth in the juxtaposition and interweaving of tactile instruments with otherworldly sounds, Miller’s\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003efollow-up love is a dying follows a considerably more direct path to intention and meaning.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eNot unlike Richard Youngs, Miller explores minimalist, meditative songwriting to great effect and in a way that seems to proceed as economically as possible from each song’s emotional germination. One has the sense that the work is necessary, that these songs serve fundamentally to process the realities of life and loss, that in the playing, Miller finds comfort and meaning.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eMany of the songs on love is a dying are in fact first takes, recorded spontaneously in the very earliest stages of development. The record itself is therefore both seed and blossom. Miller says that these songs\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e“resisted being re-recorded” and that “once a song seemed to work its magic and help me to process an event or an emotion, I let that song be done.”\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eFrom one song to the next, Miller trades instruments. On “cul-de-sac,” she turns careful phrases over and over on an electric baritone guitar (which makes multiple appearances throughout\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e the record). “You’re so\u003cbr data-mce-fragment=\"1\"\u003eclose \/ and I should be too \/ but nothing’s getting through to you.” There is a sense of emotional frustration but also an opening through acceptance: “But I’m out of hope \/ for being seen. \/ How do you\u003cbr data-mce-fragment=\"1\"\u003enot see me? \/ The car pulls up to the cul-de-sac \/ and then it fades to black \/ then it fades to black.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eNot only are most of the songs on love is a dying first takes, but the record is sequenced in the order that the songs were written. It is a story emerging. The title, Miller says, is meant to express a powerful\u003cbr data-mce-fragment=\"1\"\u003edichotomy. Love is a kind of dying whether that love is a successful, loving relationship or if it means heartbreak and grief. In the former case, one experiences a dying of oneself and expectations of another,\u003cbr data-mce-fragment=\"1\"\u003ewhile the latter brings painful loss.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs on her previous work, the focus here is Miller’s voice, spare and clear. It is a voice that disarms and communicates intensity largely through a power withheld, implied. Fans of Tiny Vipers and Cross\u003cbr data-mce-fragment=\"1\"\u003eRecord and Sybille Baer will find this quality familiar and easy to love, while all of Miller’s work and processes are shot through with a spiritual charge reminiscent of David Åhlen. Miller counts philosopher\u003cbr data-mce-fragment=\"1\"\u003eSimone Weil among her most crucial influences and discerning listeners will certainly understand that Miller’s preoccupations with mortality and transfiguration are complex, even theological.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOn “goldfinch,” Miller accompanies her crystal clear singing with only a gentle, looped recording of frogs singing and the effect is one of profound timelessness like Shirley Collins’ Crowlink or Elephant\u003cbr data-mce-fragment=\"1\"\u003eMicah’s Genericana. And here “timelinessnes”s means not only having qualities from some time now past, but from any distant human future to come, including perhaps the very moment when one is hearing\u003cbr data-mce-fragment=\"1\"\u003ethis music for the first time. Miller’s depth and directness, her ability and willingness to experiment with processes sees to it that her musings will feel shimmeringly potent and intimate wherever and whenever there is a mind to wonder.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist : Bailey Miller\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLabel : Whited Sepulchre Records\u003c\/span\u003e\u003c\/p\u003e"}