Name: Ferne (piano day 2020) by Alex Nickmann
Duration: 1 min 54 s
Description: I made this track 2018 in summer- its kind of ZEN-music, fits in this corona time, the sub bass you dont hear at laptop speakers- sorry

Happy Piano Day 2021!

It is the abstract
The victim
The sweet song of lovers
It is yesterday

The Napoleonic wars
Your chaotic beauty
The undulation of grief and grave passage unto death

It is the Greek Gods waiting upon their mountain top
A sexual overture
The birth of the cosmos
Moonlight

It is the politics of the common man
Where inadequacies of humanity become adequate
The unopened flower bud
The unborn child
A bird in its hunt for the next prey
It is peace
The eternal last word.


#pianoday

Still, Let Us Live By The Moon In Ecstasy

© 2021 OSCARSON

All music written, produced and mixed by EDWARD SIKORSKI

cello SEBASTIAN SELKE
drone guitar PHILIPP FRIESEL
piano | reed organ | synthesizer | fx EDWARD SIKORSKI

mastered by The EmU

Laika

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Heal and Prosper: Hz Music for Quick Results

My contribution to Piano Day 2018, a piano piece made for the occasion.

Spotify: https://open.spotify.com/album/7I05DXoskcchgKMPUm6APA
YouTube: https://www.youtube.com/watch?v=grDjh2kgGmc

Bjørn-Henrik Zink - Reflections (Piano Day 2018)

Listen / Purchase: https://lnk.to/mscars

Meander scars are geological features formed by the remnants of winding or meandering water channels. They are caused by the varying velocities of current within the river channel.

Lost Tribe Sound's second installment in its 8 album subscription series, 'We Stayed The Path That Fell To Shadow' comes courtesy of friend, musician and talented music writer, Gavin Miller. While his name may not be instantly recognizable to some, Gavin has been creating music for nearly a decade as one half of the sublime electronic ambient duo, Worriedaboutsatan, and has quite a few solo releases under his belt. In addition, Gavin has been a invaluable force in bringing many overlooked musical acts to the forefront through his brilliant writings for the UK publication, Drowned in Sound. 

'Meander Scars', Gavin's new double album is very much a departure from his previous output. While the use of acoustics has always resided in the backdrop on many of his solo and group efforts, it's plain to hear that with 'Meander Scars' these natural elements have risen to the top. Lost Tribe Sound is the ideal home for a Gavin Miller this delicate and organic. 

The aerial visuals formed by meander scarring and the origins of their creation, fit both the artwork and the vibe of music incredibly well. The long-form compositions were constructed from a series of slow churning rhythmic guitar loops, warm noise, soft synths and distant choirs which build over time into colliding patterns of pastoral bliss. Patient and mindful listening is key for these innocuous sounds to begin to carve their saturated pathways through the mind. Much like a river meandering over thousands of years, slowly dragging away the sediment and scaring the surrounding land, these pieces begin to take form, eroding away the malleable earth, letting gravity take hold to travel the course of least resistance.  

Being the ever curious and meddling types here at LTS, we engaged multi-instrumentalist and label mate Aaron Martin (From the Mouth of the Sun) to utilize his gorgeous cello sounds and other odd bits in his musical arsenal to fill out moments in the songs. Graciously, Aaron joined in, adding trembling washes of strings, chimes and other indiscernible noise to Gavin's compositions. Gavin than revisited his original material, carefully layering and balancing in the new instrumentation from Aaron. 

Excited by the results, Gavin shared them with us, and it was undeniable that Aaron's arrangements had created deep new conduits for the ears to follow. Yet, it wasn't until this moment that we fully appreciated the beauty of the original works. Torn by which versions to present as the final album, we realized why not present them both.  

Each version had a seemingly different affect on our conscious. The 'Upper Course' with Aaron Martin's additions, flows very much like a young river, faster, more active and commands the listener to be more attentive. Whereas, the original source material of 'Lower Course' mimics the behavior of an older river, slow flowing, in moments coming to a crawl. It's no longer the force able to move large boulders from its path. Yet in its stripped down form, it allows the listener to more easily traverse its tame currents, becoming the perfect cyclical backdrop needed for writing, drawing, and a multitude of other tasks requiring increased mental faculties.

Meander Scars

Upper Course I

Buy Album

Gavin Miller - Upper Course I (feat. Aaron Martin)(from Meander Scars)

Listen / Purchase: https://lnk.to/dregs

Nearly ten years ago at the onset of Lost Tribe Sound, an artist emerged whose impact would go on to define our core direction as a label, to release music that leaves its tattered edges proudly in place, acoustic instrumentation blended seamlessly with dirty mechanics, timeworn sound worlds rooted in the muck and mire of the present. While we’ve traversed a wide variety of genres over the years, 2019 will find LTS returning to our origins, a label dedicated to exposing some of most beautifully bizarre beat-driven electro-acoustic music we can get our hands on.

With that said, who better to kick off the year, than Vieo Abiungo. Many know this artist by his proper name William Ryan Fritch, but those who have followed LTS for a while should instantly recognize Fritch’s more obscure moniker.  A name thought to be long since retired, as it’s been over 6 years since Fritch released his last Vieo Abiungo album, ‘Thunder May Have Ruined The Moment.’  March 15th, will see the release of a new full length album ‘The Dregs.’

‘The Dregs’ was conceived over the last couple months to help along our 8 album series currently underway, titled, ‘We Stayed The Path That Fell To Shadow.’ The series hit some typical production lags, combined with a dose of personal tragedy. Fritch and LTS wanted something to offer our loyal subscribers that would bridge the gap until the arrival of his upcoming double album ‘Deceptive Cadence: Music For Film Vol. I & II,’ slated for release in late April 2019. We discussed resurrecting Vieo Abiungo, something we’ve entertained for a while now.  We asked if we could dive into Fritch’s massive archive of music and unearth some our favorite Vieo Abiungo tunes from lost and abandoned albums.  What we discovered were pieces that buzzed with the same raw and texturally unpredictability that first drew LTS to Fritch's music.   

While arranging the album, we focused in on songs that showcased a side of Fritch’s musical personality that has rarely been heard.  The aim was to make the distinction between William Ryan Fritch, the film composer and singer songwriter and his Vieo Abiungo project even clearer. In place of his signature sweeping strings and intricately layered orchestration, the thrum of plucked viola de gamba forms much of the backbone of the music, played in a style akin to a North African oud. In addition, ‘The Dregs’ stands out with its unusual percussion teasing out and tangling together poly-rhythmic lines that make for some of the most intoxicating rhythms we’ve ever heard from Fritch. A large arsenal of horns, marimbas, vintage keyboards, mbiras, and Tuareg-style electric guitars also find their way into the mix.  

‘The Dregs’ draws comparison to Fritch’s 2017 soundtrack for GoPro’s ‘Eagle Hunters in a New World,’  though the music of ‘Eagle Hunters’ focused squarely on experimenting with techniques and sounds of Mongolian Folk music and its incorporation into the landscape of the film. ‘The Dregs’ is allowed to dance more freely, unbound to a specific region, genre, or stylistic concern. The album feels malluable, held in permanent motion by its shapeshifting beats and bombastic melodies. Every track on the album is pure gunpowder, explosive in both mood and delivery, with the exception of a couple somber and timely interludes meant to give pause, recharge and prepare the ears for the next expansive onslaught.  ‘The Dregs' hits upon so many genres yet refuses to be defined by any of them. With any luck, ‘The Dregs’ will persuade Mr. Fritch to pull Vieo Abiungo permanently out of retirement and give us the next evolution in this immersive tale.

The Dregs

Cobble Together

Vieo Abiungo (aka William Ryan Fritch) - Cobble Together (from The Dregs)

#pianoday2020

This album is a collection, raw and spontaneous, and the fruit of 15 days of artistic residency in the beautiful setting of La Becque, La Tour de Peilz (CH), in partnership with Françoise Siegfried Meier Foundation and the Montreux Jazz Artist Foundation.

A setting in which I was able to express myself, on grand piano and essentially on prepared piano, with introspection and escape.


This logbook is intended to be raw, spontaneous and representative of the immersive moments I have experienced.
Some improvisations are therefore presented, such as the themes "Memories", "Serenity 1 and 2", "La Becque", or experiments ("overdrive", "rework")
The theme "Mrs. Siegfried Meier" is a tribute.

Memories is also composed for PianoDay 2019.

Sérénité 1

This album is a collection, raw and spontaneous, and the fruit of 15 days of artistic residency in the beautiful setting of La Becque, La Tour de Peilz (CH), in partnership with Françoise Siegfried Meier Foundation and the Montreux Jazz Artist Foundation.

A setting in which I was able to express myself, on grand piano and essentially on prepared piano, with introspection and escape.


This logbook is intended to be raw, spontaneous and representative of the immersive moments I have experienced.
Some improvisations are therefore presented, such as the themes "Memories", "Serenity 1 and 2", "La Becque", or experiments ("overdrive", "rework")
The theme "Mrs. Siegfried Meier" is a tribute.

Memories is also composed for PianoDay 2019.

Memories (Rework)

I made this track 2018 in summer- its kind of ZEN-music, fits in this corona time, the sub bass you dont hear at laptop speakers- sorry

Ferne (piano day 2020)

Released in celebration of Piano Day 2020.

All original songs written by Codes In The Clouds
Reworkings composed by Ciaran Morahan, Stephen Peeling, Joe Power, Jack Major

Mixed by Ciaran Morahan
Mastered by Jon Youell
Artwork by Joe Power

The Trip (Piano Rework)

second single from my upcoming album Game Trails

Markus Sieber - guitar, ronroco, charango
Anne Müller - cello
Jamshied Sharifi - piano

Order LP & CD

Summer Tale

Composer, musician, sound artist based in Berlin. www.alexnickmann.com
portrait photo by Antje Taiga

Ferne (piano day 2020)

Alex Nickmann

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