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Long awaited CD edition of the first ever solo album from the legendary cult singer Attila Csihar, known for his work in Mayhem, SUNN O))), Plasma Pool and Tormentor. For this album Attila traveled to the Monolith of Baalbek archeological site in Lebanon and conducted two sessions. The 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.

Void Ov Voices : Baalbek

Professional Reviews: Pitchfork (Website) - "FREERMASONRY is a case study in controlling the illusion of chaos, an elegantly constructed nightmare of sound..."Format: Vinyl (1 Disc)Release Date: 30 April, 2013Label: Ideologic OrganDimensions: 31.5 x 1 x 31 centimeters (0.06 kg)

Freermasonry

Kali Malone's anticipated new album "All Life Long" 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. 

Kali Malone composes with a rare clarity of vision. Her music is patient and focused, built on a foundation of evolving harmonic cycles that draw out latent emotional resonances. Time is a crucial factor: letting go of expectations of duration and breadth offers a chance to find a space of reflection and contemplation. In her hands, experimental reinterpretations of centuries-old polyphonic compositional methods become portals to new ways of perceiving sound, structure, and introspection. Though awe-inspiring in scope, the most remarkable thing about Malone's music is the intimacy stirred by the close listening it encourages. 

Malone's new album All Life Long, created between 2020 - 2023, presents her first compositions for organ since 2019's breakthrough album The Sacrificial Code 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. 

All Life Long simmers in an ever-shifting tension between repetition and variation. The pieces for brass, organ, and voice are alternated asymmetrically, providing nearly continuous timbral fluctuation across it's 78-minute runtime even as thematic material reiterates. Each composition's internal framework of fractal pattern permutations has the paradoxical effect of creating anticipated keystone moments of dramatic reverie and lulling the listener into believing in an illusory endlessness. On an even more granular level, the historical meantone tuning systems of each organ used, and the variable intonation of brass and voice, provide further points of emotional excavation within the harmony. 

The titular composition "All Life Long" appears twice on the album, first as an extended canon for organ and again in the final quarter, compactly arranged for voice. In the latter, Malone pairs the music with "The Crying Water" by Arthur Symons, a poem steeped in language of mourning and eternity. For organ, "All Life Long" moves with a patient stateliness, the drama concentrated in moments when shifting tonalities generate and release dissonance and ecstasy. For voice, each word is saturated with feeling, the singers swooping gracefully downward to capture the melancholy of the narrator's relationship to the timeless tears of the sea. "Passage Through The Spheres," the album's opening piece, contains lyrics in Italian pulled from Giorgio Agamban's essay In Praise of Profanation. In it, Agamban defines profanation as, in part, the act of bringing back to communal, secular use that which has been segregated to the realm of the sacred, a process Malone enacts each time she performs on church organs. 

This is not

All Life Long

The deep electric rainforest sound atmospheres that the listener will hear on this record was the tip of the iceberg of a rich and elaborate work process. For over 30 years, Norbert Möslang has made installations, sound performances, and music records that are deeply involved in the hidden world of vibrations to convert them into loud sounds and thick textures. Living simultaneously in spheres of inside/outside, micro-vibrations, spatial structures, underground music venues, art galleries, underwater, glass windows, body movement, precise equalizers, insects, microcosms, and electronic devices, Möslang constructs fascinating, untrammeled worlds of both philosophical and physical power. "I attempted a Voice Crack gig when I was 21 at an experimental noise festival in Fribourg... Möslang and Voice Crack opened to me both the ways to experimental noise music as well as sound art performance. When looking through the rear-view mirror, it's clear that in the late '70s/early '80s, there weren't many artists working with harsh noise - a list of the classics includes The New Blockaders, Whitehouse and Throbbing Gristle in the UK; Hijokaidan, Merzbow, Incapacitants in Japan; NON, The Haters in the States, among only a few others. Since the break up of Voice Crack in 2002, Norbert Möslang enlarged his practice to cover all noise and experimental practices, from lo-fi 'Everyday-Cracked-Electronics, ' saturation/overdrive work, performance and improvisation, field recordings and multi layered ambient noise composition. Through interconnecting, heterogeneous everyday objects; linking the outside sound environment into a quiet art museum by fixing microphones to it's windows; filming the underwater Venice canal in order to set off neverending imagery flux, allowing a movie to play it's own soundtrack by triggering photo-sensors, Möslang proves to our entire nervous system that the world we inhabit is no more than infinite continuum. To talk about indoor_outdoor specifically, again, Möslang's music drives us from nothing to everything. A field recording in a Swiss harbor is then processed and composed in a studio. The second track 'hot_cold_shield' is a collaborative duo with Toshimaru Nakamura, an influential member of the Onkyokei scene in Japan - a brutal live improvisation recorded at Manif d'art in Québec." -Balthazar Lovay, Deborence, September 2012; Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin, October 2012.

Indoor_Outdoor

(MIG) produced by Pro Arte Foundation for JSC "Klimov" Aviation Engines Museum, St. Petersburg, Russia, September 2011. Recording assistant: Vladislav Petrov, producer: Ekaterina Puzankova. "IBM" tracks recorded at EMS Elektronmusikstudion, Stockholm, April 2012. "ONE" tracks premiered at San Servolo, Venezia, Italy, December 2008 together with Anna Koch's "Scratch Memory." "Give Us the Tools..." was premiered at Theaterhaus Stuttgart, Germany, July 2006, dedicated to Hugh Davies. "Children Of Paradise" is a tape part remaining from the piece "Sörmländsk Tragedi" for children's string orchestra, premiered at Kulturhuset Stockholm and Sveriges Radio P2, February 2003. Mats Lindström works as a composer and a musician, often with strains of live electronics. He often works with intermedia, scenic elements and visual arts as a complement to the music, and has worked both with music for concerts, theater and dance as well as radio art and sound installations. Formerly an engineer in the electronics industry, Lindström has designed and constructed a number of unique electronic musical instruments and apparatuses. Ideologic Organ curation and art direction by Stephen O'Malley.

Gravetemple was formed in 2006 as a side-project of the band Sunn O))) by Oren Ambarchi, Stephen O'Malley and Attila Csihar. The group formed initially to tour in Israel in the summer of '06, creating several recordings which eventually became The Holy Down album, which was released on Southern Lord Recordings in 2007. At the time of the Israel tour, the Lebanon War started and was in action. In summer '08, the trio reformed together with the addition of Australian drummer Matt "Skitz" Sanders for a short European tour culminating in a headlining performance at Supersonic Festival in Birmingham. In late 2009, the original trio reconvened for a special one-off concert at London's Institute of Contemporary Arts. April 2013 marks the first set of live action since that period, and a new chapter in the ongoing system of the related network. Ambient/Ruin was created with the 2008 quartet - elements of tape collage, concrète, and field recordings blend within a strong, geographically-diverse (parts were recorded in Japan, Australia, Paris and Israel) suite of heavy minimalist/maximalist music, black/death metal and drone. The culmination of these efforts become the music, literally, of Sadistik Exekution meeting Phill Niblock. Gravetemple clearly adapted the more abstract and experimental aspects related to Sunn O))) and have continued from that point, with ongoing focus on metaphysical construction of free music and will. The music became a geographically and metaphysically-based effort. Attila (chants & percussion & Fuji sounds recorded on location in Kamakura May 08); Stephen (guitars & Korg Polysix recorded in Paris & Saalfelden June 08); Matt (drums were recorded at 3 Phase studios, Melbourne by Sam Johnson March 06); Oren (guitars, motorized cymbal, electronics, bells, tympani, atmos recorded at Jerker House, Melbourne & BJB, Sydney 06-08). Cut by Rashad Becker at Dubplates & Mastering, Berlin February 2013. Drawings by Justin Bartlett/VBERKVLT. Art direction & backline design: SOMA. Housed in a gatefold sleeve.

Ambient/Ruin

Limited edition LP reissue of this cult minimalist pop album by Japanese singer songwriter Ai Aso, originally released in 2020 on Ideologic Organ. Ai Aso's immaculately crafted form of minimalist pop music skirts the edges of tensity with the manner and with the skill of a tight rope walker, calmly balancing repeatedly at every step, with a combination of surety and the risk of a slip, a fall, and an unknown uncoiling of events. Aso's capacity to capture, or inspire, the tension and attention from within the listener and observer are quite pronounced. At Aso's concert the performance constantly teeters near the brink, a sharpened awareness in the hall emerges from all observing, with the will of that most delicate balance. On "The Faintest Hint" she brings a meta level to the proceedings, the dream of a singer in a bright sunlit room in the centre of the density of the society, simply and precisely searching for single ideas, single tones, a sense of sensuality and even a dream of a grandeur (rock dream) emerge. A stillness prevails, even a sharp set of instances of dreaming, melancholia, nostalgia... or even saudade. The album was recorded, mixed & mastered by Soichiro Nakamura at Peace Music between 2018-2020. Atsuo and I joined these sessions as producers, and moreso as catalysts, yet also became the skeleton of a band on the album (with the tender touch). The legendary Japanese rock band Boris accompany Aso on two pieces. A faintest hint of sharpness and la tendresse féroce quickly erodes into a fine brief cloud of the purest crystalline dust. -Stephen O'Malley, Stockholm June 2020

Ideologic Organ(8)

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