Name: Film Two by Antonymes
Duration: 4 min 59 s
Description: Demo for my next album, The Gramophone Suite, which will be released late 2018. The track will also feature on the Soundcolours compilation "Chilltronica No6"

Absolutely stunning. What else could we expect?

Spotify: https://open.spotify.com/track/0bf5EW1aMSEpvysqe16iUB?si=CD_igLkpTemBuLVyVEKSLw

Epiloog

In the peaceful embrace of nature, where time moves slowly like the seasons, a melody emerges from the trees. It's a gentle harmony woven between the soft whispers of the flute and the cheerful chirping of birds.

Serenity

203 Years taken from the album 'The Sleeper Awakes' released on the 4th May 2015 through Village Green.

The track features a 19th Century 'Dulcitone' - A piano-like instrument using tuning forks instead of strings.  Limited numbers of them were made in Glasgow in the late 1800's.

Available on LP / CD / DL here - https://benchatwin.bandcamp.com/album/the-sleeper-awakes

203 Years

Snow Walk

original music: luca longobardi
piano, loop, synth: luca Longobardi

link for the album: http://luca-longobardi.bandcamp.com/album/apparatus

Opalina

Avalanche

'Four' is a song by Ólafur Arnalds and Nils Frahm from the album 'Loon' originally released on Erased Tapes Records.

Reworked and performed by CEEYS (Brueder Selke).
Recorded and mixed by Francesco Donadello and Antonio Pulli at Vox-Ton Studio, Berlin. 
Mastered by Sebastian and Daniel Selke at Klingenthal Studio, Potsdam.

This rework is part of a collection of pieces by contemporary composers,
reworked and performed by CEEYS (Brueder Selke).

Ólafur Arnalds & Nils Frahm - Four (CEEYS Rework)

from compilation ‘Algorithmics’ (Piano Day 2017)
Bandcamp: http://bit.ly/2oG1fbz
iTunes: https://itun.es/ca/wNf5ib
Spotify: http://spoti.fi/2pfs44p

@daigohanada
Written and recorded by Daigo Hanada
Mastered by Emil Thomsen at ET Mastering

Artwork by Marin Blanc (http://www.marinblanc.com)
Layout by Nicolas Hyatt

Daigo Hanada - Once Heard (Algorithmics/Piano Day 2017)

Fourth track of Manos Milonakis's remix release "Sólfar Reworked" by:

Hior Chronik (www.soundcloud.com/hiorchronik) : 

Based in Berlin, Hior Chronik was born in Athens in 1974. His relationship with music started when he was working as a radio producer for Jazz fm in the early 90s’ and as a columnist for various music magazines. He began creating music about 7 years ago and today his focus is on minimal ambient based mainly on piano. His debut album entitled “I’m a tree”" was released from Enregistrements Variables label in 2010.His 2nd solo album, entitled “Unspoken Words” was released by mü-nest in November of 2011. Last year he released "Taking the veil" for Kitchen.Label with many collaborations with Sophie Hutchings, Field Rotation, Halo etc. and "In Between" together with Arovane for ASIP. 
Before the end of the year is gonna be released his solo piano album for Kitchen.Label.

---
Celebrating Record Store Day and given the occasion of Sólfar EP’s 1st anniversary, Manos Milonakis invites friends, composers and producers to rethink-reimagine its’ 5 tracks. Sólfar EP was Manos’s second solo release, after Your Hand in Mine, which he recorded in Iceland with contribution of local musicians.

The 5 pieces of Sólfar EP have been reworked by:
Steve Gibbs, Fragile Balloon, Luke Howard, Hior Chronik, Ed Carlsen.

Sólfar Reworked is out worldwide on 22/04/2017, Record Store Day 2017, in limited handmade CD edition and digital.

You can find it at:
Thessaloniki: Lotus, Noise, Stereodisc
Athens: Underflow
Worldwide: www.manosmilonakismusic.com
Digital release: https://manosmilonakismusic.bandcamp.com

Sólfar Reworked

Quiet Grey (Hior Chronik Rework)

Demo for my next album, The Gramophone Suite, which will be released late 2018. The track will also feature on the Soundcolours compilation "Chilltronica No6"

Film Two

This is track from my collaborative album 'Moon Ate the Dark'

Moon Ate the Dark - Explosions in a Four Chambered Heart

Antonymes : In Formation

Antonymes music emerges from the adjustments and erasures of ambient, the pace and persistence of minimalism, where music expresses nothing but itself, from the serenity and austerity of Morton Feldman and the profound prettiness of Harold Budd, from the relationship between continuity and repetition rather than of contract and interplay, from secrecy, from quietness, from pause, from thought, from emptiness, from time, from far off, from itself, from where it is set and where it is setting off to.   
 
“My chief aim is to make a piece of music. You make it for yourself firstly, and then if other people want to join in, then there we are.”
 
Antonymes makes music at the edge of, and deep inside, and from above North Wales, which you can think of as a very real place, available to be visited at any time in the solid present, and also as a very strange, fantastic, ultimately unreal place, which is all it has ever been, legend, spirit, mist and fluctuating stillness stretching back to a time and place where it was seemed like the beginning of a dream, one that would always become another dream, and another, and so on. It’s worth mentioning that Antonymes is of North Wales: to take an approach to the music understanding the location where it was made up and produced, to approach the music as if it is the beginning, or the end, of some kind of map, that will take you up mountains, across streams, to the sea, where the tide comes in, and the tide goes out, under the waves, through the woods and into the obscure wilderness that stretches between one patch of land and another, between one village and the next. So: Antonymes, of North Wales, recalling the lines of the great North Welsh poet RS Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.’
 
Formed at some point during 2008 by designer, photographer, conceptualist and musician Ian M Hazeldine, as a group that could contain just himself, and others when it seemed appropriate, Antonymes first album was titled ‘Beauty Becomes The Enemy of the Future’. Released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, ‘31: Before The Light Fails’, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. One review described the work as “a daring and inspired exercise in creating a timeless work of art.” Various pieces by Antonymes have appeared on compilations produced by Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet.
 
Antonymes music is made up, something coming from nowhere, with no clear sense of what might happen next, and yet a vague sense of what might happen after that. It begins at the piano, where notes, space and intention, and something of the soul, and the mind catching itself combine over time, until a shape appears, which suggest other shapes, and lines, and something else, an anatomy, the lateral spread of a single surface, and a shadow or two. A composition, the result of a mystical sequence of events involving improvisation, imagination, presentation, communication, intuition and manipulation, has been completed. It is the improvisation, certainly, more of Pauline Oliveros, Terry Riley, Alvin Curran and La Monte Young than jazz, the patient, probing occasionally accidental forming of structure, tension and atmosphere around spontaneity and a form of focussed daydreaming, which is a near relation of a form of praying.

Paul Morley, January 2011.

Film Two

Antonymes

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