Фирма Denovali

Artist: Hydras Dream Label: Denovali (Cargo Records)

Most terribly cold it was; it snowed, and was nearly quite dark, and evening-- the last evening of the year. In this cold and darkness there went along the street a poor little girl, bareheaded, and with naked feet. ..." Hydras Dream is a special collaboration between the Swedish musicians ANNA VON HAUSSWOLFF and MATTI BYE (winner of the Guldbaggen 2014 price for scoring the film drama ""Faro"" and composer of the film score for ""The 100-Year-Old Man Who Climbed Out the Window and Disappeared""). The concept behind this project is to interpret stories, movies and myths into musical landscapes. For their debut album ""The Little Match Girl"", von Hausswolff and Bye construed the beautiful and melancholic story by H.C. Andersen of the same title. Asked about the reason for this particular choice, the two musicians state: ""It was her tragic faith in the winter's cold that inspired us. She is freezing to death with no money and no comfort, she is all alone, dreaming of a warmer place. When death strikes her she is filled with magical illusions and dreams. Oddly enough, hypothermia and death are the only two comfort zones we experience in this story. Sad but beautiful."" "". The lights [.] rose higher and higher, she saw them now as stars in heaven; one fell down and formed a long trail of fire. ""Someone is just dead!"" said the little girl; for her old grandmother, the only person who had loved her, and who was now no more, had told her, that when a star falls, a soul ascends to God. She drew another match against the wall: it was again light, and in the lustre there stood the old grandmother, so bright and radiant, so mild, and with such an expression of love. ..."" The music of Hydras Dream is mostly made through improvisation and by using repetitious patterns and melodies. Indeed, the two musicians state ""We want to use intuition and spontaneity as two key elements in the compositions, and therefore we don't pre-record anything. We just play whatever feels good and fits the theme and press rec."" Thus it is no surprise that ""The Little Match Girl"" was written and recorded during only three days in Matti Bye's studio. Exploring the entire spectrum of their instruments, von Hausswolff and Bye ingeniously combined their virtuosity in order to craft an eclectic and delicate album, located somewhere inbetween neo-classical experimentalism and avantgarde dream-pop. One can virtually image how the notes of this debut faintly resound behind the candle-lit windows which separate the little match girl from the life-saving warmth, how their echoes join her in her inevitable fate ... "". But in the corner, at the cold hour of dawn, sat the poor girl, with rosy cheeks and with a smiling mouth, leaning against the wall -- frozen to death on the last evening of the old year. [.] ""She wanted to warm herself,"" people said. No one had the slightest suspicion of what beautiful things she had seen; no one even dreamed of the splendor in which, with her grandmother she had entered on the joys of a new year Style: Experimental

Artist: The Alvaret Ensemble Label: Denovali

MIMA is the third album on Denovali Records from London-based musician Oliver Barrett - aka PETRELS. Following on from the highly praised Petrels debut Haeligewielle ("Petrels has provided us with what has to be the strongest solo debut from a musician so far in 2011." - Fluid Radio) and second album Onkalo ("A calm, thoughtful place in the centre of a universe tearing itself apart." - Muzik Dizcovery) Mima is a further development and distillation of the distinctive sonic palette and inquisitive approach that have come to characterise Petrels so far. Named after the semi-mystical automaton from Harry Martinson's long-form sci-fi poem 'Aniara', Mima builds on the retro-futuristic themes of Onkalo and delves deeper into ideas that lie between the twin poles of faith and uncertainty. A deep interest in mythology, and the part it plays in human development, has been a fundamental part of previous Petrels releases and Mima serves to take this interest further, asking; What place does myth have in our future understanding if we seek to claim the answers to every question? And what myths could we seek to build for ourselves in the future? Drawing inspiration from sources as wide-ranging as the Space Race, Angela Carter, early Cosmology, M. John Harrison, witchcraft, Iain M. Banks Culture novels, and the films of Apichatpong Weerasethakul, Mima is another immersive sonic landscape from Petrels - more interested in posing questions than providing easy answers. Since releasing Haeligewielle in 2011, Petrels has toured across Europe and shared a stage with the likes of Tim Hecker, FIRE!, Nate Young (Wolf Eyes), Trouble Books, Fennesz, Nadja, and Hans-Joachim Roedelius (Cluster). Having also collaborated with and provided remixes for artists as varied as Duane Pitre, Brassica, Talvihorros and Max Cooper, Petrels' output is proving to be thrillingly eclectic and unpredictable. For fans of TIM HECKER, FENNESZ, HANS-JOACHIM ROEDELIUS Style: Ambient

Origamibiro is a collaborative project consisting of three core members: musician, soundtrack composer and producer Tom Hill, visual artist and filmmaker The Joy Of Box, and multi-instrumentalist Andy Tytherleigh. Originally started as a solo project for Tom, Origamibiro has since evolved into an audio-visual collective, producing studio music, art objects, interactive installations and hauntingly original live audio-visual performances. Origamibiro like to create work with an array of unorthodox processes and contraptions, found objects, video feeds and multi instrumentalism. Their unique live performances involve treated books, typewriters, found celluloid, paper, eerie wildlife recordings, home movies, sellotape and bespoke visual contraptions. All of these things had been added, adapted, even destroyed as a way to generate images and audio that could evoke a feeling, a response, an understanding or perhaps a question from audiences. 2014 sees the re-release of Origamibiro's entire back catalogue - the albums "Cracked Mirrors and Stopped Clocks", "Shakkei" and "Shakkei Remixed" - through Denovali and also the release of their fourth studio album 'Odham's Standard'. Discussions concerning tone and theme took place much earlier in the writing process this time around and unbeknown to each other, both Tom and Jim were taking an interest in more supernatural aspects of audio and video material generation. Jim had begun to research into spirit photography, where images of deceased spirits are apparently imprinted onto photographic plates through the presence of a medium. Looking for an audio equivalent, Tom began looking into EVP or electronic voice phenomenon whereby hidden voices from deceased spirits appear to present themselves in audio recordings. What is fascinating about this process is not how legitimate the phenomenon actually is but how dependant it is on the decision or need of the viewer or listener to believe it is significant or even personal. Interestingly, there have been many attempts over the years to debunk or disprove the validity of spirit photography and yet for every court case there are also a number of witnesses willing to passionately testify that not only is the phenomenon real but that it applied directly to them. Arthur Conan Doyle was the creator of the most famous detective in the world and, conversely, a staunch defendant of the validity of spirit photography. In his infamous treatise 'The Case For Spirit Photography' he is both naive and strangely prescient: "Victorian science would have left the world hard and clean and bare, like a landscape in the moon. (however) There is nothing scientifically impossible, so far as I can see, in some people seeing things that are invisible to others. One or two consequences are obvious, the experiences of children will be taken more seriously. Cameras will be forthcoming. These folk who appear to be our neighbours, with only some small difference of vibration to separate us, will become familiar." For fans of intelligent multi-instrumental ambient electronica with an organic feel - Julia Kent, Múm, Fred Frith's compositions for dance, Max Richter's "Blue Notebooks" and the works of CM von Hausswolff can be considered as references Style: Experimental

Federico Albanese is a composer born in Milan, Italy in 1982, and currently based in Berlin. His musical versatility is a natural gift that pushes him to explore music in all its facets. Albanese's compositions are airy and cinematic, blending classical music, electronics and psychedelia. Federico started studying piano and clarinet as a child before becoming fascinated by rock music. As a teenager he studied bass and became a self-taught guitarist and soon became one of the leading figures of Milan's underground scene, performing in several bands. Influenced by black music, folk, electronic, modern and contemporary classical music his skills as a composer soon emerged. He worked for 5 years as prop man in several film sets. This experience made him understand the power of the connection between music and images and helped him to develop his personal musical path. In 2007 Albanese met singer and songwriter Jessica Einaudi and together they founded the avant-garde duo "La Blanche Alchimie". Composing songs with Jessica he rediscovered his love for the piano, which from that moment on, became his main instrument. Since then Federico has scored several films, short films and documentaries, including a documentary on a project commissioned by Ermenegildo Zegna in the National Museum of XXI Century Arts in Rome. In February 2014, Federico Albanese will release his debut album entitled "The Houseboat and the Moon". He found a place, an imaginary place, where, whenever he wanted to, he could jump on and just float away. On this moving shelter, traveling across memories and imagination, lulled by water and led by the moon, Federico wrote the 13 compositions of his debut. He recorded all of the piano parts with a 1969 German tape recorder, the Uher Royal Deluxe, which allowed him to catch all of the tiny hidden shades, the imperfections, the noises of the piano and its surrounding space. Federico melts this rarefied sound with electronics, live recordings, strings, and homemade instruments. The result is a combination of contrasts and colors with a variety of atmospheres that wonderfully represents Federico's musical universe. For fans of PHILIP GLASS, YANN TIERSEN, CLINT MANSELL, MAX RICHTER Style: Ambient

Origamibiro is a collaborative project consisting of three core members: musician, soundtrack composer and producer Tom Hill, visual artist and filmmaker The Joy Of Box, and multi-instrumentalist Andy Tytherleigh. Originally started as a solo project for Tom, Origamibiro has since evolved into an audio-visual collective, producing studio music, art objects, interactive installations and hauntingly original live audio-visual performances. Origamibiro like to create work with an array of unorthodox processes and contraptions, found objects, video feeds and multi instrumentalism. Their unique live performances involve treated books, typewriters, found celluloid, paper, eerie wildlife recordings, home movies, sellotape and bespoke visual contraptions. All of these things had been added, adapted, even destroyed as a way to generate images and audio that could evoke a feeling, a response, an understanding or perhaps a question from audiences. 2014 sees the re-release of Origamibiro's entire back catalogue - the albums "Cracked Mirrors and Stopped Clocks", "Shakkei" and "Shakkei Remixed" - through Denovali and also the release of their fourth studio album 'Odham's Standard'. Discussions concerning tone and theme took place much earlier in the writing process this time around and unbeknown to each other, both Tom and Jim were taking an interest in more supernatural aspects of audio and video material generation. Jim had begun to research into spirit photography, where images of deceased spirits are apparently imprinted onto photographic plates through the presence of a medium. Looking for an audio equivalent, Tom began looking into EVP or electronic voice phenomenon whereby hidden voices from deceased spirits appear to present themselves in audio recordings. What is fascinating about this process is not how legitimate the phenomenon actually is but how dependant it is on the decision or need of the viewer or listener to believe it is significant or even personal. Interestingly, there have been many attempts over the years to debunk or disprove the validity of spirit photography and yet for every court case there are also a number of witnesses willing to passionately testify that not only is the phenomenon real but that it applied directly to them. Arthur Conan Doyle was the creator of the most famous detective in the world and, conversely, a staunch defendant of the validity of spirit photography. In his infamous treatise 'The Case For Spirit Photography' he is both naive and strangely prescient: "Victorian science would have left the world hard and clean and bare, like a landscape in the moon. (however) There is nothing scientifically impossible, so far as I can see, in some people seeing things that are invisible to others. One or two consequences are obvious, the experiences of children will be taken more seriously. Cameras will be forthcoming. These folk who appear to be our neighbours, with only some small difference of vibration to separate us, will become familiar." For fans of intelligent multi-instrumental ambient electronica with an organic feel - Julia Kent, Múm, Fred Frith's compositions for dance, Max Richter's "Blue Notebooks" and the works of CM von Hausswolff can be considered as references Style: Experimental

Artist: Petrels Label: Denovali Records

Artist: Federico Albanese Label: Denovali Records

Artist: Origamibiro Label: Denovali Records

Artist: Origamibiro Label: Denovali (Cargo Records)

Artist: Carlos Cipa & Sophia Janii Label: Denovali (Cargo Records)

Artist: Talvihorros Label: Denovali (Cargo Records)

Artist: Carlos Cipa & Sophia Jani Label: Denovali (Cargo Records)

Artist: Birds of Passage Label: Denovali (Cargo Records)

Artist: Birds of Passage Label: Denovali (Cargo Records)

Artist: Talvihorros Label: Denovali (Cargo Records)

ENSEMBLE ECONOMIQUE is Brian Pyle of Starving Weirdos and RV Paintings. His solo project (hence the slightly ironic moniker), which could be probably briefly classified as ambient / drone / psychedelic / shoegaze, has released various albums, splits and EPs on labels such as Digitalis, Amish, Not Not Fun, Dekorder and Clan Destine so far, before joining forces with Denovali Records in 2012. His new full length LIGHT THAT COMES, LIGHT THAT GOES constitutes Ensemble Economique's first release on Denovali, and is accompanied by another release, INTERVAL SIGNALS, which is a concept record consisting of a single coherent 40 minute long piece, interrupted only by the necessity to flip the vinyl record. Brian lives in Humboldt county, a very isolated part of northern California which is probably one of the only places left in California where you can live on the beach and pay $500 per month rent, where both poor and rich can enjoy the profound beauty of this nature in equal measure. An epic coastline, the redwoods, seven different rivers, these surroundings have a profound impact on Ensemble Economiques's music, and Pyle is quite aware of this: "The nature here is pure drama. There's so much space to move around here, get lost in. So many places to take LONG walks to nowhere, alone, just you and your thoughts, and some gorgeous scenery. It's liberating, inspiring. I can see how it fucks up musicians in cities, being around so many other musicians and so many other ideas. I think it makes artists a little bit more self-conscious which maybe isn't the best thing when you're trying just to be free." Exploiting the freedom of isolation, Brian utilizes found sounds, field recordings, and musical performance that he later meticulously edits, layers, and loops in the studio. The effects of these processes are dramatic, cinematic and conceptually rigorous and this recording evidences Pyle as an important new composer emerging out of the long and storied tradition of West Coast experimentalism. Pyle's practice involves a dense approach to composition akin to assemblage, but unlike electronic and laptop composition, Pyle's studio work aims to re-establish an organicism associated with live (or, in the case of the field recordings, lived) performance that pushes the studio out into nature and nature into the studio. The result is a seamless, cinematic tapestry of beauty, filled to the brim with cacophonous melodies, meditative auditory chants, & hypnotic shambolic rhythms. This is dense music that begs for deeper inspection. Each space, each note carefully chosen and etched into glass. Ensemble Economqiue is music for the darkest nights, the pinkest mornings, and everything in between. This is vivid, haunting music that leaves a trail of gold in its wake. Indeed, the pieces comprising LIGHT THAT COMES, LIGHT THAT GOES are episodic in nature, a narrative arc, travelling from dark to light. They are loosely inspired by Brian's long walks along the ocean and the thoughts he would have. Each piece captures a mood, a feeling, a singular moment out there on the beach, on his long aimless walks to nowhere, the horizon stretching for infinity. For fans of TIM HECKER, MY BLOODY VALENTINE, EVAN CAMINITI, RAIME Style: Ambient

ENSEMBLE ECONOMIQUE is Brian Pyle of Starving Weirdos and RV Paintings. His solo project (hence the slightly ironic moniker), which could be probably briefly classified as ambient / drone / psychedelic / shoegaze, has released various albums, splits and EPs on labels such as Digitalis, Amish, Not Not Fun, Dekorder and Clan Destine so far, before joining forces with Denovali Records in 2012. His new full length LIGHT THAT COMES, LIGHT THAT GOES constitutes Ensemble Economique's first release on Denovali, and is accompanied by another release, INTERVAL SIGNALS, which is a concept record consisting of a single coherent 40 minute long piece, interrupted only by the necessity to flip the vinyl record. Brian lives in Humboldt county, a very isolated part of northern California which is probably one of the only places left in California where you can live on the beach and pay $500 per month rent, where both poor and rich can enjoy the profound beauty of this nature in equal measure. An epic coastline, the redwoods, seven different rivers, these surroundings have a profound impact on Ensemble Economiques's music, and Pyle is quite aware of this: "The nature here is pure drama. There's so much space to move around here, get lost in. So many places to take LONG walks to nowhere, alone, just you and your thoughts, and some gorgeous scenery. It's liberating, inspiring. I can see how it fucks up musicians in cities, being around so many other musicians and so many other ideas. I think it makes artists a little bit more self-conscious which maybe isn't the best thing when you're trying just to be free." Exploiting the freedom of isolation, Brian utilizes found sounds, field recordings, and musical performance that he later meticulously edits, layers, and loops in the studio. The effects of these processes are dramatic, cinematic and conceptually rigorous and this recording evidences Pyle as an important new composer emerging out of the long and storied tradition of West Coast experimentalism. Pyle's practice involves a dense approach to composition akin to assemblage, but unlike electronic and laptop composition, Pyle's studio work aims to re-establish an organicism associated with live (or, in the case of the field recordings, lived) performance that pushes the studio out into nature and nature into the studio. The result is a seamless, cinematic tapestry of beauty, filled to the brim with cacophonous melodies, meditative auditory chants, & hypnotic shambolic rhythms. This is dense music that begs for deeper inspection. Each space, each note carefully chosen and etched into glass. Ensemble Economqiue is music for the darkest nights, the pinkest mornings, and everything in between. This is vivid, haunting music that leaves a trail of gold in its wake. Indeed, the pieces comprising LIGHT THAT COMES, LIGHT THAT GOES are episodic in nature, a narrative arc, travelling from dark to light. They are loosely inspired by Brian's long walks along the ocean and the thoughts he would have. Each piece captures a mood, a feeling, a singular moment out there on the beach, on his long aimless walks to nowhere, the horizon stretching for infinity. For fans of TIM HECKER, MY BLOODY VALENTINE, EVAN CAMINITI, RAIME Style: Ambient

Our universe may have been born in the Big Bang. If this was the case, the Big Bang was the beginning of space and time. Nothing existed before, not even the very concept of "before". With the birth of space and time, another important notion entered the arena: the concept of cause and effect. The Big Bang had no cause, but everything which happened after did, thus being a cause and effect at the same time. This is at the heart of SAFFRONKEIRA's third album and his first collaboration record 'CAUSE AND EFFECT'. Saffronkeira is the project of the Sardinian sound researcher EUGENIO CARIA. His first meeting with the Sardinian trumpet player MARIO MASSA was at a distance. Caria saw Massa playing on a regional TV program and was immediately caught by the immersed playing style of this musician which was unknown to him at that time. Eager to meet him, he asked several other Sardinian musicians and was lucky. He got Massa's name and phone number, immediately called him and proposed a meeting. Massa had always dreamt of a collaboration with an electronic music artist, while Caria had always been eager to work with a trumpet player, being fascinated by this instrument since his childhood. Thus, the meeting was a big success, indeed it was love at first sight. Since then Caria and Massa met every weekend at Caria's studio and ideas bounced back and forth between the two musicians. Massa improvised over Caria's compositions, Caria added layers to Massa's play, there was not the slightest disagreement about the sound and dynamics of their tracks. Just as we can only marvel at the complexity of Nature which emerged only from this simple principle of cause and effect, we can only be astonished at the result of this collaboration. The instruments of the two musicians wander unerringly through the musical landscape, from warm ambient sounds to rather abstract pieces, from thrilling hymns to threatening sound storms, but they never loose contact. Indeed, Massa trumpet play and Caria's electronics intertwine so well that at times it is difficult to distinguish them. Exploring the entire spectrum of their instruments and displaying their full virtuosity, Caria and Massa have created a unique masterpiece. RIYL: MURCOF & ERIK TRUFFAZ, DJ KRUSH & TOSHINORI KONDO, NILS PETTER MOLVAER, MAX RICHTER Style: Ambient