#geographicnorth

[geographic-north]

Andrew Osterhoudt, ‘Out Together’

Out today in a curious way! 👋 Andrew Osterhoudt's ‘Out Together’ brings eight blissed-out fits of maniacal mindfulness and rustic psychedelia. Featuring exquisite appearances from Ka Baird and John Also Bennett that buzz and bubble in a froth of wide-angled euphoria. Available now on cassette (three-layer die-cut sleeve) and digital/streaming editions!

linktr.ee/geographicnorth

[f0restpunk]

February is an interesting month. For much of the Northern Hemisphere, yr still frozen solid, hibernating away from the cold and the ice and the howling winds, praying for the return of the sunlight, for the thaw. Yet it’s a transitional season, wildflowers starting to break through the permafrost, blossoms shaking off their torpor, reaching for the sun. It’s the perfect time to release a Dark Ambient album. Some exceptional Dark Ambient releases last month. I collect a buncha my favourites & standout released over on the Forestpunk blog. From the malevolent #deathindustrial of Metadevice on @malignant_records to the #technoir Dark Ambiance of Dead Melodies and Zenjungle on @cryochamberlabel, to a pair of gorgeous #neoclassical DA records from T.R. Jordan on Indianapolis' @pastinside label, here are some of the best Dark Ambient albums of last month! Click the #linkinbio to read the full write-up! . #DarkAmbient #February2020 #albumreview #bestnewmusic #ambient #ambientmusic #experimental #experimentalmusic #corporatetrashland #52pickup #musiquemoleculaire #AriaRostami #DanielBlomquist #GeographicNorth #Metadevice #MalignantRecords #DeadMelodies #Zenjungle #CryoChamber #ThomasKoner #milleplateaux #TRJordan #PastInsideThePresent #JSimpson #Forestpunk (at Portland, Oregon) https://www.instagram.com/p/B9NRD-khqlo/?igshid=1im8cukfqk4ms

[pen-flex]

#geographicnorth #arp #arp inversions

[one-track-daily]

Night Cleaner WDE (2018)

From the EP: Even (Geographic North)

[alvumcobers]

Farbod Kokabi - Blood by Algiers @farbodkokabi @algierstheband @geographicnorth

[earprotectionrequired]

[HEAR] Moon Diagrams (#MoonDiagrams) "End Of Heartache" @soniccathedral @GeographicNorth

[HEAR] Moon Diagrams (#MoonDiagrams) “End Of Heartache” @soniccathedral @GeographicNorth

https://soundcloud.com/geonorth/moon-diagrams-end-of-heartache

[thinkibetterfollowyouaround]

#nowspinning Algiers / Blood b/w Eunuch / Geographic North @algierstheband #algiers #algiersband #blood #eunuch @geographicnorth #geographicnorth #seveninch #7inch #vinyl #vinyljunkies #vinyligclub #vinylcollection #recordcollecting #records #33rpm #turntable #coloredvinyl #bluevinyl #itibfya #ithinkibetterfollowyouaround

[steadysounds]

The soundtrack for a cold winter night #ambient #synth #tape #geographicnorth #steadysounds

[rabbitinahurry]

Night Cleaner - Night cleaner Extrait de - Sketch for Winter III: Green Sleeves - 2015 geographic North

[chevreuilrecords]

le duo électro-acoustique américain MOUNTAINS sort un mini ep sur GEOGRAPHIC NORTH

[lflip]

Purchase here: geographic-north.com/cassette/pan-american/ Catalog #: GN25 Obsidian midnight cassette, limited to 300 Through a number of musical projects, both solo and collaborative, Mark Nelson has been behind some of the most movingly melancholic and beautifully bleak sounds released in the past two decades. From his work with Robert Donne and Carter Brown in seminal ambient-rock band Labradford to his recent foray into aural austerity with Labradford-mate Donne and Steven Hess (drummer with Locrian, Fennesz, Haptic, On, and others) in Anjou to his solo work as Pan•American, Nelson’s sonic signature resonates with immense presence and fleeting agility. Depending on the Pan•American LP, Nelson shifts from noirish, ambient dub to jazzy, minimal techno while maintaining a mesmerizing sense of patience and intimacy throughout. With Rue Corridor, the latest Pan•American EP and the second part of Geographic North’s Sketch for Winter series, Nelson retreats even further into the hazy, pitch-black realms he’s flirted with in past recordings. Opener “The Terrace” is an extended foray into glitching, slurring ambiance. The track opens in a simmering drift of frayed blips and inverted melodies. A mirrored narrative unfurls itself as deep outwardly as inwardly, and motion both accelerates and comes to a complete halt. Muted and mutilated drones gradually fill the space as clipped cymbal ticks clutter the walls. Consumed by pleasant paranoia and reassuring restlessness, the piece hovers through the air weighted with a narcotic hum present in all things. The eponymous track roils in a mechanical suite of malfunctioned arpeggiations, spiraling outwardly in a glowing, pointillistic din. Nelson blankets the bleary-eyed symphony with just enough light to entice curious onlookers, attracting perilous tones to an exquisite demise. “Pasqual” is the resolved closer, bowing out of the droning desolation with a hint of hope and ember-like glimmer of warmth. Waves of subtly distorted noise wash over space, encompassing everything in their wake.

[neftali-camacho]

Purchase here: geographic-north.com/cassette/pan-american/ Catalog #: GN25 Obsidian midnight cassette, limited to 300 Through a number of musical projects, both solo and collaborative, Mark Nelson has been behind some of the most movingly melancholic and beautifully bleak sounds released in the past two decades. From his work with Robert Donne and Carter Brown in seminal ambient-rock band Labradford to his recent foray into aural austerity with Labradford-mate Donne and Steven Hess (drummer with Locrian, Fennesz, Haptic, On, and others) in Anjou to his solo work as Pan•American, Nelson’s sonic signature resonates with immense presence and fleeting agility. Depending on the Pan•American LP, Nelson shifts from noirish, ambient dub to jazzy, minimal techno while maintaining a mesmerizing sense of patience and intimacy throughout. With Rue Corridor, the latest Pan•American EP and the second part of Geographic North’s Sketch for Winter series, Nelson retreats even further into the hazy, pitch-black realms he’s flirted with in past recordings. Opener “The Terrace” is an extended foray into glitching, slurring ambiance. The track opens in a simmering drift of frayed blips and inverted melodies. A mirrored narrative unfurls itself as deep outwardly as inwardly, and motion both accelerates and comes to a complete halt. Muted and mutilated drones gradually fill the space as clipped cymbal ticks clutter the walls. Consumed by pleasant paranoia and reassuring restlessness, the piece hovers through the air weighted with a narcotic hum present in all things. The eponymous track roils in a mechanical suite of malfunctioned arpeggiations, spiraling outwardly in a glowing, pointillistic din. Nelson blankets the bleary-eyed symphony with just enough light to entice curious onlookers, attracting perilous tones to an exquisite demise. “Pasqual” is the resolved closer, bowing out of the droning desolation with a hint of hope and ember-like glimmer of warmth. Waves of subtly distorted noise wash over space, encompassing everything in their wake.

[gacougnol]

Purchase here: http://geographic-north.com/cassette/pan-american/ Catalog #: GN25 Obsidian midnight cassette, limited to 300 Through a number of musical projects, both solo and collaborative, Mark Nelson has been behind some of the most movingly melancholic and beautifully bleak sounds released in the past two decades. From his work with Robert Donne and Carter Brown in seminal ambient-rock band Labradford to his recent foray into aural austerity with Labradford-mate Donne and Steven Hess (drummer with Locrian, Fennesz, Haptic, On, and others) in Anjou to his solo work as Pan•American, Nelson’s sonic signature resonates with immense presence and fleeting agility. Depending on the Pan•American LP, Nelson shifts from noirish, ambient dub to jazzy, minimal techno while maintaining a mesmerizing sense of patience and intimacy throughout. With Rue Corridor, the latest Pan•American EP and the second part of Geographic North’s Sketch for Winter series, Nelson retreats even further into the hazy, pitch-black realms he’s flirted with in past recordings. Opener “The Terrace” is an extended foray into glitching, slurring ambiance. The track opens in a simmering drift of frayed blips and inverted melodies. A mirrored narrative unfurls itself as deep outwardly as inwardly, and motion both accelerates and comes to a complete halt. Muted and mutilated drones gradually fill the space as clipped cymbal ticks clutter the walls. Consumed by pleasant paranoia and reassuring restlessness, the piece hovers through the air weighted with a narcotic hum present in all things. The eponymous track roils in a mechanical suite of malfunctioned arpeggiations, spiraling outwardly in a glowing, pointillistic din. Nelson blankets the bleary-eyed symphony with just enough light to entice curious onlookers, attracting perilous tones to an exquisite demise. “Pasqual” is the resolved closer, bowing out of the droning desolation with a hint of hope and ember-like glimmer of warmth. Waves of subtly distorted noise wash over space, encompassing everything in their wake.

[alyssadehayes]

View this post on Instagram

A post shared by Alyssa De Hayes (@alyssadehayes)

Thanks, @geographicnorth! @farbodkokabi & @bobbypower: you are inspiring and encouraging and I'm grateful to call you pals. #geographicnorth #vinyl #cassette

[the-out-door]

200 Words: M. SAGE

(In 200 Words, we highlight a new record we like a lot, via a 200-word review by one of us (Marc Masters or Grayson Currin) and 200 words (or so) from the artist about whatever they choose.)

There’s only one piece on Data in the Details, done twice: first as a "heads up extended edit”, then a “mover isuzu dub edit.” But the music Matthew Sage crafts is so slippery, so elusive to concrete analysis, that this tape feels like it contains multiple albums inside of it. When I listen with an eye toward writing about it, Data in the Details confounds me; I have trouble figuring out which part to grab onto, and when I return it sounds different than I remembered. But when I listen with my ears, it suddenly seems much more present and alive: loud and clear where before it practically disappeared.

Even if I can’t describe the music, I think I can at least get at why I can’t. It’s not that there’s so much happening in Data in the Details – though there is a lot there – but that the barriers between all the elements are super fluid, often melting into invisibility. Often that tactic makes a grey sonic mush. But M. Sage manages to use it to produce music that hits targets without limiting itself to them. It means something, nothing, and everything – which, after all, are the same thing.

– Marc Masters

M. Sage on Data in the Details

This past summer I worked a part time job at an upscale patio furniture lifestyle store. I was moving to Chicago, and needed some extra cash for expenses. One day a week I would do data entry, and two or three days a week I would help move large orders from the warehouse to customers’ homes. I had never paid much attention to the look, the style, the lifestyle, the materials that constitute patio furniture, or the strange culture of this market. Who does? People who buy it, people who sell it. I only moved it, or entered data about these furniture items into a computer system.

On a delivery job to an isolated hunters’ farm in eastern Wyoming, I started to notice. It was a large, and expensive order. We loaded up the trailer, blasted across the sprawl to this farm, and assembled prefabricated poly-plastic deck chairs, bar-height round pub tables, a ten foot long dining table. The awful wind smelled like scrub grass and manure. I snuck into the house to refill my water bottle from the glistening copper sink, the water tasted slightly metallic. In the front yard there was a splayed rabbit carcass. The bar tables and chairs were dark charcoal grey, the dining table butter cream, all compressed poly-plastics.

Data in the Details is out now on Geographic North. Buy it here.