{"title":"Ideologic Organ","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eIdeologic Organ is a music label that was launched on April 14, 2011. Curated and art directed by \u003ci\u003eStephen O'Malley\u003c\/i\u003e, it has been a platform for his publishing company and artistic endeavors in album and book design. From 2011 to 2021, the label was manufactured and distributed by Editions Mego, and since 2021, Shelter Press has taken over these responsibilities.\u003c\/p\u003e\n\n\u003cp\u003eUnder the guidance of Stephen O'Malley, Ideologic Organ has become synonymous with quality music releases and captivating visual aesthetics. With an impressive catalog spanning over a decade, the label has showcased innovative artists who push boundaries across various genres.\u003c\/p\u003e\n\n\u003cp\u003eAs both a publishing company and art direction entity, Ideologic Organ represents Stephen O'Malley's dedication to creating immersive experiences through sound and visuals. The label continues to be a vital force in the music industry, providing a platform for unique voices to be heard.\u003c\/p\u003e","products":[{"product_id":"all-life-long","title":"All Life Long","description":"\u003cp\u003eKali Malone’s anticipated new album \u003ci\u003eAll Life Long\u003c\/i\u003e is a collection of music for pipe organ, choir, and brass quintet composed by Kali Malone, 2020 - 2023. Choral music performed by Macadam Ensemble and conducted by Etienne Ferschaud at Chapelle Notre-Dame-de-L’Immaculée-Conception in Nantes. Brass quintet music performed by Anima Brass at The Bunker Studio in New York City. Organ music performed by Kali Malone and Stephen O’Malley on the historical meantone tempered pipe organs at Église Saint-François in Lausanne, Orgelpark in Amsterdam, and Malmö Konstmuseum in Sweden.\u003c\/p\u003e\u003cp\u003eMalone’s new album \u003ci\u003eAll Life Long\u003c\/i\u003e, created between 2020 - 2023, presents her first compositions for organ since 2019’s breakthrough album \u003ci\u003eThe Sacrificial Code\u003c\/i\u003e alongside interrelated pieces for voice and brass performed by Macadam Ensemble and Anima Brass. Over the course of twelve pieces, harmonic themes and patterns recur, presented in altered forms and for varied instrumentation. They emerge and reemerge like echoes of their former selves, making the familiar uncanny. Propelled by lungs and breath rather than bellows and oscillators, Malone’s compositions for choir and brass take on expressive qualities that complicate the austerity that has defined her work, introducing lyricism and the beauty of human fallibility into music that has been driven by mechanical processes. At the same time, the works for organ, performed by Malone with additional accompaniment by Stephen O’Malley on four different organs dating from the 15th to 17th centuries, underscore the mighty, spectral power that those rigorous operations can achieve.\u003c\/p\u003e\u003cp\u003eThis is not music of praise, or of spiritual revelation, but it is an artistic enactment of translating the indescribable. It carries the gravity of liturgical chant, and its fixation on the infinite, but draws its weight from the earthly realm of human experience. A music that draws the listener into the present moment where they can discover themselves within the interwoven musical patterns that can come to resemble the passage of days, weeks, years, a lifetime.\u003c\/p\u003e","brand":"Ideologic Organ","offers":[{"title":"Black LPx2","offer_id":50388003291467,"sku":"2167904","price":39.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50388002046283,"sku":"2167903","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Kali_Malone_-_All_Life_Long_09962b79_thumbnail_4096.jpg?v=1726339010"},{"product_id":"placelessness","title":"Placelessness","description":"\u003cp\u003eUnique recording of this unique constellation of musicians. Featuring pianist Chris Abrahams of cult jazz band The Necks, guitar and experimental maverick Oren Ambarchi, and percussion experimentalist Robbie Avenaim.\u003c\/p\u003e\u003cp\u003eFollowing nearly 20 years of working together as a trio, and numerous cross-collaborations in different configuration between them, Ideologic Organ presents \u003ci\u003ePlacelessness,\u003c\/i\u003e the debut full-length by Chris Abrahams, Oren Ambarchi, and Robbie Avenaim, comprising two long-form works at juncture of ambient music, minimalism, rigorous experimentalism and improvisation, and machine music.\u003c\/p\u003e\u003cp\u003eHaving carved distinct pathways across a diverse number of musical idioms for decades, Chris Abrahams, Oren Ambarchi, and Robbie Avenaim are each, respectively, among the most noteworthy and groundbreaking figures to have emerged from Australia’s thriving experimental music scene. Ambarchi and Avenaim first encountered Abrahams when seeing the Necks - the project that has served as the primary vehicle for his singular approach to the piano since its founding in 1987 together during the late 1980s, not long after having met in Sydney’s underground music community. The pair’s collaborations date back more than 35 years, criss-crossing Ambarchi’s pioneering solo and ensemble work for guitar and Avenaim’s visionary efforts for SARPS (Semi Automated Robotic Percussion System), robotic and kinetic extensions to his drum kit.\u003c\/p\u003e\u003cp\u003eIn 2004, fate brought the three together in a trio performance at the What Is Music? Festival, the annual touring showcase of experimental music founded and run by Ambarchi and Avenaim between 1994-2012. For the nearly two decades since, Abrahams, Ambarchi, and Avenaim have intermittently reformed in exclusively live contexts, in Australia and abroad, cultivating and refining the fertile ground first tilled in that early meeting. Placelessness is the first album to present this remarkable trio’s efforts in recorded form. \u003c\/p\u003e\u003cp\u003e\u003ci\u003ePlacelessness\u003c\/i\u003e is the joining of three highly individualised streams, working in perfect harmony; the point at which friendship, mutual respect, and decades of creative exploration produce a singular spectrum of sound. Featuring Abrahams on piano, Ambarchi on guitar, and Avenaim on drums, the album’s two sides draw on each artist’s enduring dedication to long-form composition. Its two pieces, Placelessness I and Placelessness II, initially began as a single, 40 minute work, before being divided and reworked into distinct, complimentary gestures for the corresponding sides of the LP.\u003c\/p\u003e\u003cp\u003eBeginning with restrained clusters of reverberant piano tones, Placelessness I progresses at an almost glacial pace, with Abrahams’ interventions increasing met by sparse responses, darting within vast ambiences, on guitar and percussion by Ambarchi and Avenaim. Remarkably conversational within its convergences of tonal, rhythmic, and textural abstraction, over the work’s duration a progressive sense of tension unfurls and contracts, refusing release, as each of the ensemble’s members contribute to an increasingly tangled sense of density at its resolve.\u003c\/p\u003e\u003cp\u003eWhile an entirely autonomous work, Placelessness II rapidly realises a distillation of the energy hinted at across the length of its predecessor. Following a luring passage of harmonious calm, Abrahams’ launches into shimmering lines of repeating arpeggios, complimented at each escalation of tempo by Avenaim’s machine gun fire percussion work and Ambarchi’s masterful delivery of tonality and texture, as the trio collectively generate dense sheets of pointillistic ambience within which individual identity is almost lost, before slowly unspooling into unexpected abstractions and dissonances that deftly intervene with the work’s inner logic and calm. \u003c\/p\u003e\u003cp\u003eWhat could easily be termed a maximalist take on Minimalism, \u003ci\u003ePlacelessness\u003c\/i\u003e is a masterstroke of contemporary, real time composition, that blurs the boundaries between ambient music, experimentalism, free improvisation, and machine music. Drawing on Chris Abrahams, Oren Ambarchi, and Robbie Avenaim’s decades of respective solo and collaborative practice, and the culmination of nearly twenty years of working together as a trio, it’s two durational pieces - Placelessness I and Placelessness II - take form with a startling sense of effortlessness and grace, neither shying away from explicit beauty or rigorously tension within their forms.\u003c\/p\u003e","brand":"Ideologic Organ","offers":[{"title":"Black LP","offer_id":50389263286603,"sku":"2027874","price":32.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50389261517131,"sku":"2027873","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/default_fb8cd9b9_thumbnail_4096.jpg?v=1726356506"},{"product_id":"azure-4","title":"Azure","description":"\u003cp\u003eHaving each followed their own distinct trajectory of exploration for decades - interweaving rigorous experimentalism with diverse touchstones of cross-cultural expression - and building upon roughly 20 years working as a duo, Jessika Kenney and Eyvind Kang return with Azure, their third full-length with Ideologic Organ. Among their most ambitious outings to date, comprising five new compositions recorded in Seattle during the Spring and Summer of 2022, this remarkable body of sonority draws upon the traditions of Persian ghazal, Korean poetry, Dhrupad, Javanese music, free improvisation, and numerous others, culminating as a singular gesture of contemporary Minimalism that glacially unfolds across the length of the LP.\u003c\/p\u003e\u003cp\u003e Hailing from the Pacific North West, Jessika Kenney and Eyvind Kang have retained a strong presence within the context of American experimental music since their emergence during the mid 1990s, each producing some of grippingly original music to have appeared over the subsequent years. Kenney is an experimental vocalist, composer, and teacher, focused on the transformative powers of the voice and sound’s relation to mystical experience. In addition to her collaborations with Oren Ambarchi, Tashi Wada, Avey Tare, Alvin Lucier, Sarah Davachi, Ensemble Nist-Nah, Sunn O))), and numerous others, she is known for her performance of Indonesian vocal music (sindhenan) and Persian vocal music (radifs), as well as her own compositions drawing on elements of both. Kang, a composer and multi-instrumentalist who is highly regarded for his unique approach to the viola, has worked extensively across numerous fields, appearing on albums by Bill Frisell, Joe McPhee, Sun City Girls, Wayne Horvitz , Ikue Mori, Laurie Anderson, Aki Onda, John Zorn, Blonde Redhead , William Hooker, Animal Collective , Lou Reed, Oren Ambarchi, and numerous others, as well creating as a striking body of solo works that incorporate elements of his Icelandic, Danish and Korean heritage.\u003c\/p\u003e\u003cp\u003eA hypnotic return to Kenney and Kang’s unique expression of “unison music”, Azure is among the the duo’s most paired down and minimal efforts in more than a decade. It’s five composition are underscored by allusions to the natural world and drifting temporarily - “like a haze of light across the sky. The morning followed after watching the moon, then the sea” - producing a profound calm that rises in arcs of tonal colour.\u003c\/p\u003e\u003cp\u003e The album’s opener, Eclipse, is a composition built around the phrase “inside the eclipse”, drawn from Theresa Hak Kyung Cha’s novel, Dictee, and follows the Korean American writer’s suggestions of method and technique. Leaving aching silences between each utterance - Kenney’s sparse vocal interventions mirrored by Kang’s delicate viola tones - the piece’s collective elements produces a remarkable tension, bubbling within its spacious calm.\u003c\/p\u003e\u003cp\u003eThe title track, Azure, takes its name from a pun on the Persian «az u» or «from them”, and is a meditation on the closing rhyme of ghazal 413 from the Divan of Hafez of Shiraz, az u (from\/of them), râh az u, âh az u, “the moon from them, the path from them, the sighs from them”. Imbued with sorrow and release, across the piece Kenney’s vocals and Kang’s viola weave and dance against a shruti drone, calling forth echos of lost moments in far off worlds.\u003c\/p\u003e\u003cp\u003eThis is followed by three pieces that incorporate traces of disparate cultural traditions into their forms. Ocean is an experiment with different intensities of pulsation, inspired by Korean sung poetry and Kagok playing, the Indian Classical techniques of Dhrupad and gamak, and ring modulation’s use of two simultaneous frequencies - in this case one being agreed upon and the other improvised - which assemble an enveloping expanse of intoxicating harmonics and vibrato. For Forest Floor, Kenney’s long-tone vocalisation play on the meanings of ‘tan’ or body, and ‘nur’ or light, ‘Chegel’ and ‘Khotan’ from ghazal 327 of the Divan of Hafez, and the Javanese names of pitches and associated body parts. Dancing at the boundaries of sorrow and joy, her voice, paced in perfect harmony to Kang’s viola, seems to propose alternate realities of what ecstatic music might be. The album’s final piece, draws upon Glenna Cole Allee’s book, Hanford Reach, incorporating words spoken within by by interviewees living or working in the tribal territories of Wanapum, Yakama, Cayuse, Umatilla, Nez Perce, and many others, on or near the Hanford Nuclear Site, in the state of Washington. Among the album’s most dynamic and powerful efforts - drones and pulsing tones playing counterpoint to Kenney’s soaring vocals - the duo, inexplicably, imbues impressions of the Pacific Northwest with numerous creative touchstones that blur perceptions of both culture and time.\u003c\/p\u003e\u003cp\u003eWith each of Azure’s discrete expressions, Jessika Kenney and Eyvind Kang ask us to hold\/stop\/wait\/listen at the edges of knowability, allowing the world continues around us, as they draw us into realms of audibility where breathing and blinking might meld with each tone and join the sonorous landscape being formed before our ears. A startlingly gesture of contemporary experimentalism and minimalism, Azure pushes us to find a deeper rhythm; to move, grow, and form our listening bodies towards each composition.\u003c\/p\u003e","brand":"Ideologic Organ","offers":[{"title":"Black LP","offer_id":50394269647179,"sku":"2053327","price":27.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50394269417803,"sku":"2053325","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Azure_7c1bc503_thumbnail_4096.jpg?v=1726435339"},{"product_id":"void-ov-voices-baalbek-2","title":"Void Ov Voices : Baalbek","description":"\u003cp\u003eThis is the first ever solo album from the legendary cult singer \u003cstrong\u003eAttila Csihar\u003c\/strong\u003e, known for his work in Mayhem, SUNN O))), Plasma Pool and Tormentor. For this album Attila travelled to the Monolith of Baalbek archaeological site in Lebanon and conducted two sessions.\u003c\/p\u003e\n\n\u003cp\u003eThe first was an all night session situated directly across from the massive trillion stones of the Temple of Jupiter. For the second session he recorded directly on one of the 900 tons trillions a few km from the temple site. A work in progress for ten years, I am deeply honoured to have the chance to present Attila’s work on Ideologic Organ. He has continued to be an inspiration of what is possible to surprise and develop within the extreme sides of music, in a radical and intelligent way. To say he has been a fundamental inspiration of art music creation is an understatement. – Stephen O’Malley, Paris July 2022.\u003c\/p\u003e\n\n\u003cp\u003e\"I started \u003cem\u003eVoid Ov Voices\u003c\/em\u003e in 2006 to create ritualistic music for the moment, to play only live performances while capturing and interfering with the energy of the space and the time of the location. The first time I travelled to Lebanon was in 2008 for one particular reason: to visit the Trilitons and the giant Monoliths of Baalbek. I was deeply impressed by the level of ancient civilisations engineering technology and the intense magical atmosphere of the whole area...\u003c\/p\u003e\n\n\u003cp\u003eThere is a massive plateau in Baalbek made of these sized stones, on top of which the Romans built their famous Jupiter Temple, considered to be one of the largest Roman structures in the world. Baalbek used to be called The City Of The Sun in ancient times, and I might have one theoretical question: could it be connected to the story of The Tower Of Babel? There are many stories and theories around these mystical places. But those stones have been just standing and waiting in time and space throughout history. And they will be there till the end…\u003c\/p\u003e\n\n\u003cp\u003eTo make recordings as close as possible to these unique structures always triggered my mind. When finally I could make a recording outdoor on the top of the “Stone of the South” in Baalbek, I fell into a trance kind of meditative state of mind, in that welcoming an enormous ancient energy which is present and is also captured on these recordings. Music is magical itself on many levels as it goes through all of our bodies, not only through the sensations of our ears.... (Hungarian painter) Csontváry Kosztka Tivadar and Baalbek gave me such deep inspiration that in 2012 I decided to travel back to Lebanon to the same ruins to Baalbek to create a ritualistic recording and try to capture that energy for myself and for forever.\u003c\/p\u003e\n\n\u003cp\u003eI chose this rare painting from Csontváry called “Sacrificial Stone” for the album’s cover artwork. He painted this surrealistic painting in Baalbek too. No debt to me that he was inspired by “The Stone Of The South”, which became the “Sacrificial Stone” in his vision. When I first saw that painting, I could not believe my eyes: in \u003cem\u003eVoid Ov Voices\u003c\/em\u003e, I use blocks of sounds repeatedly to create a wall of sound. I could not visualise my music better than Csontváry on this beautiful painting\" – excerpt from \u003cstrong\u003eAttila Csihar\u003c\/strong\u003e’s liner notes, Budapest September 2021.\u003c\/p\u003e\n\n\u003cp\u003eDeluxe gatefold LP with 16 page 12”x12” booklet.\u003c\/p\u003e","brand":"Ideologic Organ","offers":[{"title":"Black LP","offer_id":50402569748811,"sku":"2007096","price":39.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50402570109259,"sku":"2184691","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Void_Ov_Voices__Baalbek_78fde41b_thumbnail_4096.jpg?v=1726550557"},{"product_id":"higgs-boson-3","title":"Higgs Boson","description":"\u003cp\u003eLimited edition CD version of the debut LP by Runhild Gammelsæter and Lasse Marhaug. Runhild Gammelsæter and Lasse Marhaug are two Norwegian musicians\/sound artists. Both started in the early 1990s music underground and have worked in many constellations with a wide range of collaborators. Despite knowing each other for a long time, Gammelsæter and Marhaug's first collaborative work was the \"Quantum Entanglement\" LP in 2014. The album ignited a collective spark that both wanted to pursue further. Still, other commitments got in the way, and the project lay dormant until Stephen O’Malley, and Greg Anderson invited them to open for Sunn O))) for a special gig in the St. James Church of Culture in Oslo in the autumn of 2019. The two gathered for a long series of rehearsals, and after the successful performance, it was clear that it was time to start working on new compositions and recordings. That process initiated in late 2019 and continued to early 2021, encompassing before and after the world went through the lockdown. The result of this long development to be heard accumulated upon their new album \"Higgs Boson\" on Ideologic Organ Music. Throughout the profound process of creating \"Higgs Boson\", Gammelsæter and Marhaug drew inspiration from various subjects and artists. For Marhaug, it was concepts informed by the structuralist experimental cinema of Japanese directors Takashi Ito and Toshio Matsumoto, futurist worlds of French comic book artists Philippe Druillet and Jean Moebius Giraud, landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, amongst others. As an album, \"Higgs Boson\" is direct and focused, drawing on song structures. Within these tracks are vast strata of sound, an immersive multi-dimensional depth of music. Creating a feeling of depth while working with a flat two-channel stereo format - and how dimensions of texture and distortion can help develop the illusion of a space. The album structure is a story-like arc, a malleable subjective path, set as the album traverses oblique and suggestive areas, opening the concepts for the listener to unpack as they like. Extract from an exclusive consultation with Gammelsæter \u0026amp; Marhaug, edited by Stephen O'Malley, June 2022\u003c\/p\u003e","brand":"Ideologic Organ","offers":[{"title":"CD","offer_id":50402598682955,"sku":"2184712","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Runhild_Gammelster__Lasse_Marhaug_-_Higgs_Boson_621a7ea5_thumbnail_4096.jpg?v=1726551771"},{"product_id":"lone-3","title":"Lone","description":"\u003cp\u003eTokyo’s \u003cstrong\u003eAi Aso\u003c\/strong\u003e (朝生愛, Asō Ai) is a Japanese psychedelic pop singer-songwriter whose work has a whisper-thin acid folk quality to it. She started performing as a solo singer around 2000. Her solo work, infrequent collaborations with White Heaven members You Ishihara and Michio Kurihara, Yurayura Teikoku, and Boris bring a level of fragility and hypnotism to the stage recalling lost memories, small flavors of COIL and serial playing on the verge of evaporation.\u003c\/p\u003e\n\n\u003cp\u003eAs for her recent activities, she has performed on bills together with Sunn O))), Boris, Masaki Batoh (Ghost), Touri Kudoh, Kim Doo Soo, Mark Fry, Simon Finn etc. 2024 Limited edition LP \u0026amp; CD reissues of this cult minimalist pop album by Japanese singer-songwriter \u003cem\u003eAi Aso\u003c\/em\u003e, originally released in 2014 on Ideologic Organ. \u003cstrong\u003eAi Aso\u003c\/strong\u003e has collaborated with Michio Kurihara, Boris, Stephen O’Malley, and more. \u003cstrong\u003eAi Aso\u003c\/strong\u003e has sought after rare OOP albums on PSF, Pedal records and Ideologic Organ.\u003c\/p\u003e","brand":"Ideologic Organ","offers":[{"title":"Black LP","offer_id":50407389167947,"sku":"2189185","price":32.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50407389954379,"sku":"2189203","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Lone_3e8bffa8_thumbnail_4096.jpg?v=1726597315"},{"product_id":"dream-walker-2","title":"Dream Walker","description":"\u003cp\u003eAbout 20 years ago, Carlos Giffoni quickly made a name for himself both as a noise guitarist and a laptop noisician upon arriving in New York (via Florida and Venezuela). His expertly curated annual No Fun Festival, as well as his No Fun label, further solidified him as a key figure in the international noise scene. The festival’s success proved the formula for experimental and improvised music fests could work with the noise underground as well, but it also capitalized on the faster rate of connections being made between geographically disparate artists as a result of the (still relatively nascent) internet. Back then Carlos would play his laptop like a pinball machine, in contrast to the static stage presence of most laptop performers, and his solo music, like many others’ at that time, expressed a less dark and dour vision of the implications of harsh noise. By the close of the 2000s, he had stopped doing the festival, switched gears musically to playing the lighter No Fun Acid sets, and moved to LA. Now he has re-emerged in a big way with Dream Walker, his first full-length since 2018’s Vain (and only his second since 2010). Inspired by the masterful performances and diffusions he heard at the February 2023 GRM electronic music festival in Paris, particularly sets by old friends Lasse Marhaug, Jim O’Rourke, and Eiko Ishibashi, he began conceptualizing new music of his own in response, turning to synthesizers and other hardware to produce a work more firmly in the tradition of European electronic music than anything else he’s done. Intended as a late night listen that evokes the edge of consciousness, with Carlos getting as close as possible to a trance state during the actual recording and mixing, each of the eleven tracks transition into one another rather than being standalone discrete pieces, forming two side-long suites that proceed like stages of a dream. Unabashedly tonal and repetitive, the glistening opener “Now Dream,” the droning “Sleep Walker,” and the closing triptych of “Lost in Descanso,” “Sunrise,” and “The Hidden Path” occupy a power electronics-ambient nexus that feels spiritually close to the Mego label. Elsewhere, “Ticking Clock” is reminiscent of Stereolab’s non-easy listening vintage electronic side, while the two-part arpeggiated “Euphoria” recalls early Oneohtrix Point Never (which Carlos released on No Fun). The contrast between “One Breath”’s crackling opening and its remarkably fluid and soaring sustained synthesized chords is a distillation of the album’s lingering tension between electronics’ ability to project mechanical rupture as well as the organic and the infinite —or “walking between dreams,” as Carlos himself puts it. Produced by Lasse Marhaug (who also mastered Carlos’ first solo album, Welcome Home, back in 2005), released by Stephen O’Malley (who I remember DJing at the No Fun fest), with cover art and photos by personal friends, Carlos considers the album a family affair. But Dream Walker most of all heralds a maturation of the artist, and stands as a record that exists out of pure desire, rather than obligation or force of habit; a statement of reconnecting with music not by merely revisiting it, but by building on what’s come before, both in his own work and in the music he loves. –Alan Licht,\u003c\/p\u003e","brand":"Ideologic Organ","offers":[{"title":"Black LP","offer_id":50409739387211,"sku":"2190518","price":32.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50409739649355,"sku":"2190545","price":19.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/CARLOS_GIFFONI_-_Dream_Walker_a924434f_thumbnail_4096.jpg?v=1726625853"},{"product_id":"onimikig","title":"Onimikg","description":"\u003cp\u003eSecond album on Ideologic Organ from this flute master. Limited edition LP of 300 copies with amazing photography of the birch wood scores of the pieces performed on this recording. With a 12 page full sized booklet\u003c\/p\u003e\u003cp\u003eAn important document of new music meets contemporary musicological research via Stephen O’Malley of SUNN O)))’s Ideologic Organ. Timothy Archambault’s unaccompanied flute pieces for this album have been inspired by Indigenous brontomancy (divination by thunder). Each piece highlights a different extended flute technique metaphorically related to types of thunder sounds: claps, peals, rolls, rumbles, inversions, and CG (cloud-to-ground). The Indigenous flute used in this recording is made of cedar respective to the traditional woods used by the Kichesipirini and other tribes who live along the Ottawa \u0026amp; Saint Lawrence Rivers.\u003c\/p\u003e\u003cp\u003eTo the Algonquin the flute (Pibigwan) is the wind maker or essence of the wind. Unlike other tribal nations whom the majority used the flute as a courting instrument, the Algonquin generally utilized the flute for more contemplative singular usage to mimic the sounds of nature or as a signaling device during times of conflict. When love songs were required, they were usually more plaintive in character expressing sadness, loneliness, or concerning the departure of a lover.\u003c\/p\u003e\u003cp\u003eThe album intro begins with the shaking of a necklace of otter penis bone, fish spine, bear claw, elk teeth and deer hide, gifted from Algonquin Elder Ajawajawesi. It is meant to focus the listener’s attention before the flute pieces begin. The warble or multi-phonic oscillation prevalent in all the pieces traditionally represented the “throat rattling” vocalization of the tonic note, sometimes known as the horizon of which the melody floats from. 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The music is a study in harmonics and non-linear composition with a heightened focus on just intonation and beating interference patterns. Malone’s experience with pipe organ tuning, harmonic theory, and long durational composition provide prominent points of departure for this work. Her nuanced minimalism unfolds an astonishing depth of focus and opens up contemplative spaces in the listener’s attention.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eDoes Spring Hide Its Joy\u003c\/i\u003e follows Malone’s critically acclaimed records \u003ci\u003eThe Sacrificial Code\u003c\/i\u003e [Ideal Recordings, 2019] and \u003ci\u003eLiving Torch\u003c\/i\u003e [Portraits GRM, 2022]. Her collaborative approach expands from her previous work to closely include the musicians Stephen O’Malley and Lucy Railton in the creation and development of the piece. While the music is distinctly Malone’s sonic palette, she composed specifically for the unique styles and techniques of O’Malley and Railton, presenting a framework for subjective interpretation and non-hierarchical movement throughout the music.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eDoes Spring Hide Its Joy \u003c\/i\u003eis a durational experience of variable length that follows slowly evolving harmony and timbre between cello, sine waves, and electric guitar. As a listener, the transition between these junctures can be difficult to pinpoint. There’s obscurity and unity in the instrumentation and identities of the players; the electric guitar’s saturation timbre blends with the cello’s rich periodicity, while shifting overtone feedback develops interference patterns against the precise sine waves. The gradual yet ever-occurring changes in harmony challenge the listener’s perception of stasis and movement. The moment you grasp the music, a slight shift in perspective guides your attention forward into a new and unfolding harmonic experience.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eDoes Spring Hide Its Joy\u003c\/i\u003e was created between March and May of 2020. During this unsettling period of the pandemic, Malone found herself in Berlin with a great deal of time and conceptual space to consider new compositional methods. With a few interns left on-site, Malone was invited to the Berlin Funkhaus and MONOM to develop and record new music within the empty concert halls. She took this opportunity to form a small ensemble with her close friends and collaborators Lucy Railton and Stephen O’Malley to explore these new structural ideas within those various acoustic spaces. Hence, the foundation was laid for Does Spring Hide Its Joy.\u003c\/p\u003e\u003cp\u003eIn Kali’s own words: “Like most of the world, my perception of time went through a significant transformation during the pandemic confinements of spring 2020. Unmarked by the familiar milestones of life, the days and months dripped by, instinctively blending with no end in sight. Time stood still until subtle shifts in the environment suggested there had been a passing. Memories blurred non-sequentially, the fabric of reality deteriorated, unforeseen kinships formed and disappeared, and all the while, the seasons changed and moved on without the ones we lost. Playing this music for hours on end was a profound way to digest the countless life transitions and hold time together.”\u003c\/p\u003e\u003cp\u003eIdeologic Organ is pleased to present Kali Malone’s \u003ci\u003eDoes Spring Hide Its Joy \u003c\/i\u003eas a triple LP set of around two-hours duration. Mastered by Stephen Mathieu and cut at Schnittstelle Mastering, the record is pressed in perfect sound quality by Optimal in Germany. 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In collaboration with David Toop. “A New Guinea Journey”, Dr. Ragnar Johnson’s 289pp manuscript journaling the research in the 1970s is published simultaneously to the release of these audio documents. \u003c\/p\u003e\u003cp\u003eThe third part of Ideologic Organ Music’s trilogy together with Dr. Ragnar Johnson and Jessica Mayer’s anthropological field recordings of sacred flute music from the island of  Papua New Guinea in the 1970s. A book titled \u003ci\u003eA Papua New Guinea Recording Journey\u003c\/i\u003e consisting of Dr. Johnson’s field notes from the entire research period will be published simultaneously with this music release. “The recording of a male initiation ceremony with sacred flutes, bullroarers and ‘crying baby’ leaves was only possible after fifteen months residence during anthropological research. From the same Ommura villages in the Eastern Highlands there are bamboo jews harps, yam fertility flutes and singing. 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Lukas de Clerck explores a niche of archaeological research in music; the aulos is a historical Greek instrument that Lukas analyzed and reinterpreted by a luthier in modern times navigating this impression as an artwork or living sculptural object, as there is an absence of historical partitions or written information about how to recreate technique on the instrument. Lukas de Clerck has interpreted information from the rare archaeological resources and visual art of the classical Greek period to recreate both playing technique and possible sound timbres with the instrument. With his contemporary approach to drone, post-minimalist music, and contemporary folk, we find a deeply satisfying and compelling, even playful set of songs, timbral exercises and compositions. \"The morphology of the aulos is defined by its reeds... The tubular memory inside the fibre of the plant will ensure it closes and opens naturally like the mouth that will blow breath inside... 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At Brasserie Atlas, Lukas has found collaborators who have shared in the process of building this new instrument: the collective Noir Métal has constructed the tubes, in this way becoming instrument builders; the phorbeia has been manufactured by Jot Fau; a former water reservoir in the vast cellar of the building carried the instruments' resonance for its first sounds. 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Henry House expands on the ecstatic, durational work found in Wooley's Seven Storey Mountain, a six-part composition that has been premiered over the last ten years by an ensemble that now includes multiple drummers, guitarists, a twenty-one-person choir, and the composer on amplified trumpet. But its ritual is more serene, more natural, slower. Henry House is the first long-form piece that doesn't feature Wooley's trumpet. It is also the first to be constructed around his poetic writing. Wooley weaves a strange funeral mass for a fictional everyman from isolated phrases culled from essays, poems, and non-fiction written by Wendell Berry, John Berryman, Joseph Mitchell, and Reiner Stach. After organizing the fragments into a dream narrative, Wooley rewrote the text dozens of times, manipulating the stitched-together story until only glimpses of its sources remained. These texts become a slowly developing story of care and too much care in living. They are spoken by Mat Maneri and Megan Schubert and set amidst masses of instruments. The outer and middle movements explore the interactions between slowly shifting sine tone frequencies and massed, slightly detuned instruments—vibraphones, brass, pianos—to affect a warmly wobbling harmonic pad that undulates and revolves under Maneri's performance of the text. 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The guitar is unplugged, and the body\/instrument relationship changes in dimension.\u003c\/p\u003e\u003cp\u003eIn this series of variations, you can get caught up in masses of noise seen from very, very close up, evocations of melodies in the making, feedback on ridgelines, pulsations that hold their own, modulations weakened by exhaustion and harmonic bursts that hint at better days to come.\u003c\/p\u003e\u003cp\u003eNeither hopelessly chthonic nor beatifically ethereal, \u003ci\u003eBye Bye Bird\u003c\/i\u003e is a sum of musical pieces that make a whole and give voice to echoes of what has been, the presence of what is and the hope of what will be, a record movement in the form of flight and salvation. 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He has worked for film, television, theatre, dance and as sound designer\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Ideologic Organ","offers":[{"title":"CD","offer_id":52549577507147,"sku":"R5242-1259","price":13.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/BJNilsen-TruethanNature.jpg?v=1751034253"},{"product_id":"the-creep","title":"The Creep","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003e20th Anniversary Edition of \u003cem\u003eThe Creep \u003c\/em\u003eby Slomo, this ambient doom masterwork is available on vinyl for the first time via Ideologic Organ. This is a storied album of verbal history, and emerged from a figurative long barrow deep within a virtual space of great depth and contemplation, an inverted framing of acoustic space with heavy floors ranging from the wake of Coil to the heaviest Japanese fire of psychedelia to the monuments of drone coagulating in the early ‘aughts. A first CDR edition in 2005 garnered focus of heavyweights like SUNN O))), Julian Cope, the esoteric legendary record store Aquarius, and the Wire.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIdeologic Organ are honoured to have been tasked to bring this to a limited LP for the very first time, and collaborated with mastering genius Rashad Becker to create a 61 minute single LP in a perfect cut.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eThe Creep\u003c\/em\u003e is a single 1-hour-long track recorded live with minimal overdubs and zero eye-contact. 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When Malone stepped into McDowall’s Brooklyn home studio, a shared vision immediately took root and set the course for a remarkable collaboration between these two singular artists.\u003c\/p\u003e\n\u003cp\u003eOn \u003cem\u003eMagnetism,\u003c\/em\u003e Malone’s poignant and evocative melodies manifest through McDowall’s signature timbral synthesis, creating a unified voice that soars freely and radiates with vitality. Technically, the duo employs an exquisite blend of Karplus-Strong synthesis, distortion and just intonation. Kali and Drew embrace these tools with refined grace while moving fluidly within their musical framework. Charged by the magnetic pull of repetition, saturation, and resonance, Magnetism pulses as a living music that captivates the senses and lingers long in the mind after the final notes fade.\u003c\/p\u003e","brand":"Ideologic Organ","offers":[{"title":"LP - Black","offer_id":53339398046027,"sku":"R6221-6422","price":26.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":53339398078795,"sku":"R6221-3055","price":13.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/KaliMalone_DrewMcDowall-Magnetism.jpg?v=1757342321"},{"product_id":"music-for-intersecting-planes","title":"Music for Intersecting Planes","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003e\u003cem\u003eMusic for Intersecting Planes \u003c\/em\u003emarks the first collaborative release between cellist Leila Bordreuil and organist Kali Malone.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMinimal in means yet expansive in effect, the music unfolds like beads on a thread, punctuated by silence and deep breaths. Shifting currents of air pressure emerge from the manually pumped organ, enriched by the cello’s finely drawn harmonics to form a microscopic and granular perspective of timbre. Interference patterns spin the sound mass as Malone and Bordreuil play against the stillness of sine waves. Church bells ring in the distance. Undulating feedback gives rise to insistent calls from the organ before yielding to a tragic cello motif. The album then closes with the brief and jubilant pizzicato exclamation, “Endless Dance of Eternal Joy.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRecorded by candlelight at the Temple de Saint-Théoduoe in La Tour-de-Peilz in Switzerland, the music balances patience and intensity, composition and chance, severity and tenderness. 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This double-vinyl set contains an array of pieces dating from 2010 - 2020. Four of the works included here were originally released on cassette tape early on in the label’s history, while the two remaining pieces were presented by the label for the first time on this compilation. This record is released in conjunction with reissues of XKatedral Anthology Series II-III.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThe works Ir Himinn, Grooenn by Kristofer Svensson, Disquiet (Heart) by Marta Forsberg and Lamé by Isak Edberg were first released on the cassette tape compilation XKatedral Volume II in 2016. Svensson’s piece from 2014 combines gamelan percussion and prepared piano intricately interwoven in a way that obscures the boundaries between the two instrument groups. Forsberg and Edberg’s pieces both use a monolithic form to explore the timbral and harmonic spaces provided by the Düben Baroque organ situated in Tyska Kyrkan in the oldest part of Stockholm. While similar in terms of instrumentation the two works differ formally - Edberg’s Lamé composed in 2010 uses the registers of the organ to articulate a seamless spectral transformation while Forsberg’s Disquiet (Heart) from 2014 deals in blocks of sound with a varying degree of opacity, saturation and intensity.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eGlory for two electric guitars by Caterina Barbieri and Kali Malone was composed and recorded in Tempo Reale in Florence, Italy, and was originally released on the cassette tape compilation XKatedral Volume III in 2016. This music takes the form of an ever-evolving hypnotic pattern shared by the two instruments articulated through an additive and subtractive canon.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eDissolving Ceremony, composed in 2012 by Edberg\/Erlandsson\/Lisinski, was first presented publicly on the self-released record Stratum. The music contained in that release was formed from a collection of gamelan percussion instruments augmented by two sets of live-electronic instruments tuned to the harmonic framework formed by the partials of the metal percussion. Originally positioned in the center of the record running order between two long monolithic process-based pieces, Dissolving Ceremony now stands on its own as a memory of a time and methodology from the not so distant past.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThe newest piece in this set is Shipwrecks by Daniel M Karlsson. While this work is a recent one Karlsson should be considered one of the forerunners of the musical expression contained within this record set. Active within new music for two decades his strongly articulated musical ideas and constantly evolving craftsmanship has resulted in an enormous body of work, and has served as an inspiration for many of his fellow composers. 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This double-vinyl set contains an array of pieces dating from 2018 - 2020. This collection of pieces focuses on the use of synthetic sound and algorithmic composition languages as tools for precise work within the realm of spectral exploration. In addition to this, the electronic instrumentation in many of the pieces is augmented by acoustic instruments. This record is released in conjunction with reissues of XKatedral Anthology Series I and III.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThe first piece on Side A is Kali Malone’s Music for Low Quartet. This piece is an adaptation of the composition Rose Wreath Crown originally released on The Sacrificial Code in 2019. In this iteration, the music is scored for two double basses played by Vilhelm Bromander and Zach Rowden, and sine tone electronics performed by Malone herself. The recording of this piece was made at EMS in 2019. Closing Side A is Jessica Ekomane’s First Light. 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