Lathe-cut clear vinyl, cut at Bladud Flies, UK. First Edition of 50 copies. Pre-orders available now.

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releases April 30, 2022

noemienours credits:

All music, lyrics, mixing, mastering by noemienours.
Recorded on Fostex R-8 8 track in Umeå, February 2022.

noemienours instruments:

Nylon-stringed guitar, Harpsichord, Clavichord, Sampler.

Mr. Mouton (ca. 1617-1699) credits:

Keyboard transcription, recording, mixing, mastering by noemienours.
Recorded on Fostex R-8 8-track in Umeå, March 2022.

Mr. Mouton instruments:

Flemish single-manual harpsichord by M. Bezemer 2005 after Ruckers.

* World premiere recording on harpsichord
** World premiere recording

This is Lathe Cut series #2/noemienours records #11.

Lathe cut record edition of 50 copies shipping now, order here:
Textual explanation by noemienours about the record: 1. Side A is comprised of 3 unusually acoustic recordings by noemienours who are developed around a template similar to the concept of “fairy tree” as it is developed in Mark Twain’s “Personal recollections of Joan of Arc”, but based on nature observation from the Baltic Sea birch forest where noemienours lives. The first 2 songs have a A415 nylon guitar and harpsichord tuning/sound reminiscent of John Downland or François Couperin and both include looped samples of snowshoeing through the snowy forest, while the last song involves only clavichord and voice. The harpsichord improvisation, an obvious component of 17th/18th century music, can share similarities here for instance with keyboard improvisation from post ”In a silent way” Miles Davis or Scandinavian jazz like Jan Garbarek. ”Veniet Ursi Silvestres” is a prelude whose title is a quote from Johannes Lichtenberger’s “Prognosticatio” (1492) predicting inter alia the development of the Thirty Years War. The whole tryptic is an ode to the threatened magical power of the forest.

2. Side B is a harpsichord transcription, transcribed and performed by noemienours of lute tablatures from Charles Mouton (ca. 1617-1699) , who was one of the most famous lute-players (key musicians for the development of harpsichord or viol music), in France and Europe, also including notably Sweden during the 17th century, where some of his compositions have also survived in the form of keyboard tablatures (something familiar to noemienours who used the keyboard tablature technique previously to perform songs on keyboard during her New-Zealand tour in 2019, keyboard tablatures published in the ”Meditative Adventures” songbook). So this is a somewhat Swedish tradition of adapting Mouton’s music to keyboard that resumes with this recording, that includes one composition never previously recorded by anyone.