Name: The Gramophone Suite III by Antonymes in neo classical 1
Duration: 8 min 46 s
Description: From the Drionarivm compilation "Illuminations ii"

this track knows where it goes! awesome; ambient sounds are just the perfect measure, strings also are.

I know you to know how awesome your music. Breathtaking

neo classical 1

your gentle kiss
(music and words peter coyle / stephen power)
 

the way you kissed me
the way you made me feel
like i was there 
there with you
you wanted to console me
i wasn't a ghost to you 
you knew 
you knew 
my heart was scorched
but i could feel you
your smell 
your touch
your life was an angel heart
and you let me bathe
in those waves
in those waves of realness
you brought me back 
from the emptiness
you brought me back 
with your smile
your smile 
the irresistible softness and tenderness
of your gentle kiss  
the whisper of butterfly words
with their secret formulas
for escaping all the hurt


your gentle kiss

Pre-order Ghost Stations:

- Just Music Store (CD/Vinyl/Digital) http://smarturl.it/ghoststations_JM
- iTunes http://smarturl.it/ghoststations
- Amazon (Digital) http://smarturl.it/ghoststations_amazon
- Amazon (CD) http://smarturl.it/ghoststations_amznCD
- Amazon (Vinyl) http://smarturl.it/ghoststations_amznLP
..............................................................................................................................
'Ghost Stations', the ninth studio album by Marconi Union, is set for release on 12th August 2016.

After fourteen years of writing and performing, the trio - founder members Richard Talbot and Jamie Crossley with keyboard player Duncan Meadows - are thought to be “amongst today's most talented musicians” (The Sunday Times). They have steadily developed and refined an unique musical identity; evoking emotions from gracefully blending elements of dub, jazz, ambience and electronica within their richly melodic compositions.

With ‘Ghost Stations’, Marconi Union’s music continues to straddle the worlds of artistic credibility and musical accessibility. They were not afraid to accept the challenge of making new music rather than just repeating their earlier work and were well aware of the risk of trying new things.

“People who have bought our previous records may think we've gone too far in this direction or that direction or that we don't do enough of some particular aspect anymore, but we've already done those things in our previous work and we have to keep pushing our boundaries otherwise what is the point? We want people to hear Ghost Stations and say “'What the f**k is that' either in a good or bad way!”

Before making a record Marconi Union usually have a clear idea about its ultimate direction, but this time they decided to set aside any preconceptions. They spent the last two years experimenting with playing, programming, editing, re-editing, (agreeing and disagreeing) until ‘Ghost Stations’ naturally evolved. Once the title was decided upon, everything fell into place connecting ideas of abandonment, empty spaces and dereliction.

“We always want to move forward and try new things, there's no point in just treading water, so it was great to use a couple of guest musicians [Digitonal's Andy Dobson on clarinet and Giorgio Li Calzi on trumpet] Sometimes you need real playing, especially when it comes to feel”.

Over the last fourteen years, their studio albums,'Under Wires and Searchlights' (2003) (“sonically immaculate” Uncut), 'Distance' (2005) (“one of the most successful ambient albums of recent years” The Sunday Times), ‘A Lost Connection’ (2010) (“minimal, introspective, ethereal electronica – gorgeous” The Guardian), ‘Beautifully Falling Apart (2011) (“places MU firmly in the vanguard of acts making atmospheric, ambient music” Music OMH, Different Colours' (2012) (“a work of bewitching beauty” DMC), and their last album, Weightless (2014) (“an ethereal sense of free flowing dimensions” DJ Mag), have brought them to the attention of larger audiences and international critical acclaim.

Marconi Union have accepted festival invitations from Brian Eno, they have collaborated with the Marina Abramovic Institute and have also recorded ‘Weightless’, hailed as the “most relaxing song ever”, with its tens of millions of streams and YouTube views, (even earning the accolade of being named as one of the 'Best Inventions Of The Year' by Time Magazine). Their music has been selected to accompany art installations, independent arts based projects, theatre and ballet, and to serve as the beautiful musical backdrop to television commercials, drama and documentary films worldwide.

Ghost Stations

Pre-order album

Marconi Union - Sleeper (Edit)

Song from the Shadows and Ghosts E.P

Released on Bandcamp & Whipcord Records 2.9.16

6th October, The Skerries, Bangor
14th October, Telford's Warehouse, Chester

Recorded by Russ Hayes, Orange Studios, Penmaenmawr

Duncan Farmer - drums
Richard Harrison - bass
Adam Walton - guitars, keyboard & vocals

Written by The Immediate

Album 'Soul Harmonic' available before we die. Hopefully.

Pockets

Zookeeper (unfinished)

THE IMMEDIATE
‘Not Shabby’ - free download single
released Thursday, 11th. May 2017

—

“… a great tune, great playing, wild spiky guitar, odd lyrics, a light sprinkling of anarchic menace and the perfect pop radio length.” Tom Robinson, BBC6Music
—

Adam Walton (guitar & vocals) / Richard Harrison (bass & vocals) / Duncan Farmer (drums & vocals)

We are The Immediate, a three-piece band from Mold in north Wales. We reconvened after a long hiatus last year, and have subsequently released two EP’s featuring songs that received airplay and support from Tom Robinson on BBC 6Music, BBC Introducing, and from a host of excellent independent radio shows and blogs (Sweeping The Nation, The Breakdown, Music Is My Radar).

We release our new single, ‘Not Shabby’, on Thursday 11th May 2017 as a free download from our bandcamp page: http://theimmediate.bandcamp.com  

‘Not Shabby’ is the lead track from our debut album Manbuoy (released on 16th June 2017). The single also features a b-side exclusive to this release: ‘Suffer In Silence’.

‘Not Shabby’ is an uplifting burst of guitar pop, catalysed by experience of coming out the other side of a depressive illness. Musically, our reference points were the opening tracks on The Beatles’ untouchable mid-60’s albums - Rubber Soul and Revolver - with the proviso that we were determined ‘Not Shabby’ would not sound like a song inspired by The Beatles. No Mellotrons were harmed during the recording of this single.

However another trope of The Beatles’ mid-60’s recordings - the backwards guitar - is very much apparent on the b-side, ‘Suffer In Silence’. The original technique for recording backwards guitars was to flip the tape over on the studio’s tape machine, and to have the guitarist record a part playing along to a backwards version of the backing track. When the tape is then flipped back over, the recorded guitars are reversed and take on an otherworldly sound, like violas strung with LSD. 

There were no tape machines in the studio we used to record these songs, so we had to improvise with digital technology. Hopefully to interesting effect.

‘Not Shabby’ c/w ‘Suffer In Silence’ were recorded at Orange Sound Studios in Penmaenmawr, North Wales by Russ Hayes, who has worked on recordings by Peaness, Campfire Social, Kidsmoke, Catfish and the Bottlemen and Billy Bibby and the Wry Smiles.

The single sleeve was designed by Paul Maurice (ex-Gallops) from Wrexham. It’s a detail of the iconic lighthouse at Talacre beach, on the northeast Wales coast.

Not Shabby tracklisting (r/d 11th May 2017):
1.	Not Shabby
2.	Suffer In Silence


GIGS
Thursday, 11th. May		Focus Wales, Wrexham (Undegun, 9:40pm)
Saturday, 26th. May		Cwmafan Festival, Port Talbot
Friday, 2nd. June		Neuadd Ogwen, Bethesda
Friday, 16th. June		Telford’s Warehouse, Chester (album release show)

Not Shabby

FREE Download

The Immediate - Not Shabby [release date: 11/5/17]

The Places We've Been features the voice of Karen Peris, and is taken from Lost Horizons' debut album Ojalá, due for release 3rd November via Bella Union. Pre-order now:

http://smarturl.it/LH-ojala

Lost Horizons - The Places We've Been

Part of the opening track from my latest ambient album Real Life and How To Avoid It, out on CD, download and streamies.

This track (like most of my music) was improvised live in my studio with most of my synths rather than just the laptop. 
It is another example of me exploring ways of making even more minimal music that is still satisfying.

Real Life and How to Avoid It

Once More

That's a piano piece totally improvised, I just sat on the piano and play what spontaneously came out. No sheet music, preparation, or forethought. Just spontaneous composition, in one take. No edit. This is why you may hear some "mistakes" but as Thelonious Monk said: “The piano ain't got no wrong notes.” ;-)
I made it as part of the Piano Journal experimentation, a project created by Jason Dzamba: www.thepianojournal.com

Impromptus Vol. 1

Impromptu n°I / FREE Download (Total improvisation, no edit)

played and recorded by Edward Sikorski
mixed and mastered at Studio B
© 2018 Edward Sikorski

Humble Trees

Get on Bandcamp

From the Drionarivm compilation "Illuminations ii"

The Gramophone Suite III

Dear Shadows - Piano Day 2018

Recorded for Nils Frahm's Piano Day on 29th March 2018

Polaroid Notes - Oh Dear Heart

A track made out of despair – of a World that forgets the lessons of the past, gives Narcissism a stage and is seduced once more by a divisive narrative of hate; of the failure of democracy and a World where a Clown can lead the Circus.

I Am Your Voice

Track taken from the upcoming album 'Little Notes' released through Fluid Audio.

Music: Steven Kemner
Mastered: Taylor Deupree
Design: Daniel Crossley / Ian Hazeldine

Mailing list: www.fluidaudio.bigcartel.com/mailing-list

Little Notes

Steven Kemner - Sleep Well

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.

The Gramophone Suite III

Antonymes

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