Green-House - Passiflora & K. Leimer - Slight, Far (Longform Editions)

WHAT THE COVER LOOKS LIKE:

---

WHAT WE SAY:

Two great ambient Longform Editions have just been released by artists at opposite ends of their careers. If soothing sounds are what you're after then check out the new transmissions from Green-House & K. Leimer.​

Vertical Divider

WHAT YOUR EARS SAY:

---

WHAT THE RELEASE NOTES SAY:

Green-House is the project of Los Angeles based artist Olive Ardizoni.

Approaching the project with an intentional naivety, they craft songs that find freedom through simplicity. As a non-binary artist, they hope to create a space with fewer barriers as both a performer and a listener.

Their first release as Green-House, Six Songs for Invisible Gardens, was written with the intention of transforming the listening environment and augmenting domestic space. The music is designed as a communication with both plant life and the people who care for them.

Artist notes:

The intention of this piece was to evoke the process of bud, to flower, to transcendence. The melody comes in to note the first sign of spring and moves into the swell of the growth of the bud then the piece moves back and fourth as they swell and separate, revealing its center as it finally blooms, spreading its seeds and then gently closing and returning back to the earth.

Deep listening is the somatic experience of listening, feeling the physical movements of a piece and feeling the stillness. much like looking at a picture and allowing yourself to be swept away with the emotion of the piece rather than allowing the intellect to overpower the moment.

WHAT THE RELEASE NOTES SAY:

Seattle-based composer K. Leimer has been making ambient and experimental music since the mid ’70s, releasing the majority of it on his own Palace of Lights label. Inspired by the tape loop experiments of Brian Eno and the free-form cosmic explorations of Krautrock groups such as Cluster and Neu!, he began creating similar sounds at a time when interest in these forms of music was virtually unheard of in the United States. Leimer’s music began attracting more interest than it ever had during the previous decades when RVNG Intl. issued A Period of Review, a collection of previously unreleased works.

Artist notes:

Slight, Far is a self-deterministic, digital, instrumental, approximation of the tape technique used by Anthony Moore in his Pieces from the Cloudland Ballroom. Packets of expanding and contracting phrases occur in a rudimentary phase music setting, further randomised by manually varying the intervals between events so that, unlike Pieces, there is no likely resolution point. To imply distance, the results were then layered into differing “depths” of an artificial soundstage with the additional goal of intimating the organisational effects of position.

Even as a child I felt that — as incomprehensible as music was to me at the time — it was always too fast; too rushed. Especially lovely sounds — like feedback or the crumpling of an overloaded microphone — were almost always quickly passed over. Like virtuosic playing, an established aesthetic of neatness that attempted to avoid the actuality of the recording medium seemed aimed purely at entertainment and distraction. This sort of experience of music, I thought, ignores and wastes the vast detail, interest, and beauty carried inside every sound.