<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><div><br></div>Hi all,<div><br></div><div>For your reading listening pleasure !<br><br></div><div>"Unfathomless (U01) ~Tsukubai~" (feature)<br>Parallel to the ongoing Mystery Sea series, with its ‘night ocean drones’ and related metaphorical psycho-activity, Daniel Crokaert has inaugurated a sister label. Unfathomless seeks to mine potentially wider and deeper audio-documentary veins - natural, man-made, fictive, as well as other related environmental experiences implicating memory and senses.<br><a href="http://www.furthernoise.org/page.php?ID=388">http://www.furthernoise.org/page.php?ID=388</a><br>feature by Alan Lockett<br><br>""rivages sur l'antipode" - d'incise" (review)<br>Releasing yet another fine objet d'art of metaphorical antipodesian soundscapes, the ini.itu imprint have once again reinforced their unique take on experimental global sound. “Ravages sur l’antipode” by d’incise, aka Laurent Peter is something akin to a palmiset of southern sound,<br><a href="http://www.furthernoise.org/page.php?ID=403">http://www.furthernoise.org/page.php?ID=403</a><br>review by Roger Mills<br><br>"Arctic Summits - Netherworld" (review)<br>Netherworld's stated working method is to start from tiny fragments of classical music and various other kinds of field recordings and found sounds, manipulated and processed to evoke polar silences. The results often include lush harmonies, whose surface calm contains touches of grit that provide a surreal undercurrent in his ever-shifting arctic splendor.<br><a href="http://www.furthernoise.org/page.php?ID=400">http://www.furthernoise.org/page.php?ID=400</a><br>review by Caleb Deupree<br><br>"Crossing Of Shadows" (review)<br>Previously orchestramaxfieldparrish has navigated interstices between ambient, drone and neo-classical, dealing in a blend of ritual, drone and post-Gothic colourings and wispy atmospherics. A questing sensibility issues here in a turning away from repetition of gestures. What once was was restless with experiment, now seems more restrained.<br><a href="http://www.furthernoise.org/page.php?ID=402">http://www.furthernoise.org/page.php?ID=402</a><br>review by Alan Lockett<br><br>"Unfathomless (U02) ~Tactile.Surface~" (review)<br>Unfathomless (U02): A choreography of the chthonic constitutes much of this engaging excursion. Sources for Tactile.Surface were recorded in diverse settings: Turra’s room in Schio, Italy, and one of McFall’s trips from Kansas to Colorado. Their combined aesthetic is one of stark isolationism, with a mix of familiar components bringing new timbral skin to the old ceremony.<br><a href="http://www.furthernoise.org/page.php?ID=389">http://www.furthernoise.org/page.php?ID=389</a><br>review by Alan Lockett<br><br>"Unfathomless (U03) ~Lack Affix~" (review)<br>Unfathomless (U03): Built upon the grouping of field recordings from Maryland, Washington D.C. and Argentina. Nicholas Szczepanik & Juan José Calarco traded field recordings in constructing this glowering but not inhospitable collage, processing and mixing audio spoils from their respective areas jointly into a work of substantial clarity and particulate involvement.<br><a href="http://www.furthernoise.org/page.php?ID=391">http://www.furthernoise.org/page.php?ID=391</a><br>review by Alan Lockett<br><br>"Unfathomless (U04) ~Lignes d’erre & Randons~" (review)<br>Unfathomless (U04): continuing the pursual of grimly fluid, introspective, subterranean drone, a style that's become increasingly widespread as others follow where Daniel Crokaert et al. lead. There are few, though, as proficient as Kassel Jaeger, who augments the house style, widening the palette through inclusion of electronics, and deepening interaction with source material.<br><a href="http://www.furthernoise.org/page.php?ID=390">http://www.furthernoise.org/page.php?ID=390</a><br>review by Alan Lockett<br><br>"Unfathomless (U05) ~Zeltini~" (review)<br>Unfathomless (U05): Revenant is an open-membership project involving a number of specialists of location recording. Zeltini's eponymous environment is an abandoned Soviet army base in a Latvian forest - large horizontal bunkers where missiles were stored, one of which was used in a semi-transcendental experience in which the participants dispersed in almost total darkness.<br><a href="http://www.furthernoise.org/page.php?ID=399">http://www.furthernoise.org/page.php?ID=399</a><br>review by Alan Lockett<br><br>Roger Mills<br>Editor, Furthernoise<br><br>to unsubscribe please go to <a href="http://www.furthernoise.org/unsubscribe.php?u=1&ID=659">http://www.furthernoise.org/unsubscribe.php?u=1&ID=659</a><br><div apple-content-edited="true"> <span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; font-size: medium; "><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><div><div style="font-size: 12px; ">--</div><div style="font-size: 12px; ">Roger Mills</div><div style="font-size: 12px; "><a href="http://www.eartrumpet.org">http://www.eartrumpet.org</a></div><div style="font-size: 12px; "><a href="http://www.furthernoise.org">http://www.furthernoise.org</a></div><div style="font-size: 12px; "><br></div><div style="font-size: 12px; "><a href="http://ethernetorchestra.netpraxis.net">http://ethernetorchestra.netpraxis.net</a></div><div style="font-size: 12px; "><br></div><div style="font-size: 12px; ">M: 0403 414495</div></div><div><br></div></div></span><br class="Apple-interchange-newline"> </div><br></div></body></html>