Spectrum

Out Now - The White Apple: B-Sides
iTunes: 
https://itun.es/us/3kaqeb?i=1145046012

Spotify:
https://open.spotify.com/track/76PEYHEqxlKb3yY9RcCaxG

Breathe

"1965" released both digitally and on limited edition 7" clear vinyl on April 7, 2014 via B3SCI Records. Get it here: b3scirecords.bigcartel.com/product/b3s…phelia-1965

Follow Zella on Twitter - http://twitter.com/zelladay
Like Zella on Facebook: http://www.facebook.com/zelladay

Follow IYES on Twitter: https://twitter.com/weareiyes
Like IYES on Facebook: https://www.facebook.com/weareiyes
Listen to IYES on Soundcloud: https://soundcloud.com/weareiyes

The sound of strumming guitars; the feel of soft, wet clay; the scent of fresh brewed coffee: this was Zella Day’s childhood. Secluded in the quaint mountain town of Pinetop, Arizona, Zella’s creativity flourished with the forest at her doorstep. High above Phoenix Valley, Pinetop holds a population of 7,000, and Zella's family-owned Mor Mor Coffee House was an only sanctuary for artists. Surrounding herself with local musicians, Zella was inspired to pick up the guitar at a young age. Before long, the blossoming chanteuse started performing sets including Bob Dylan and Elvis songs - selections inspired by her coffee house family. The native Arizonan had found a calling in music and used it as a form of self-realization, penning her experiences and discovering herself through the intricacies of song. She drew inspiration from the serene Arizona mountains and turned to Clint Eastwood, old Western films, and cowboy rebel culture to help shape the attitude behind her music. The result is a raw, organic sound unconfined by the boundaries of genre. It effortlessly floats between the tonalities of female frontier-maker Stevie Nicks and art pop songbird Lana Del Rey while invoking imagery painted by Old Arizona and a free-spirited perspective.

To date, Zella Day’s music has barely crossed paths with the outside world; however, her short series of self-released demos and collaborations caught fire throughout the indie community. One such supporter of her undeniable talent was the boutique music press outlet B3SCI. Having recently formed a singles record imprint, B3SCI was undoubtedly the natural home for the songwriter's first official offering to the world.

The upcoming two-track single leads with “Sweet Ophelia,” a blending of personal encounters in an eerie resemblance to that of Hamlet’s Ophelia. Crunching drum machines and menacing electronics juxtapose Zella’s airy croons as she sings about the sanctity of physical connection, powerfully portraying both the majesty and fragility of letting love consume you. The B-side, “1965,” takes a more straightforward approach, showcasing Zella’s strong voice atop soft, pattering drums and fluttering guitars. The lyrics tell a story about finding a genuine connection among a sea of inauthenticity. Moreover, the track celebrates its title - the year that a generation united despite a delusive society.

On April 7th, B3SCI Records will release 'Sweet Ophelia / 1965' on limited edition 7-inch clear vinyl. The tracks were brought to life at Los Angeles's WAX LTD. Studios with the production and mixing prowess of Xandy Barry and Wally Gagel. This debut collection showcases a young songstress’ visceral visions and liberated mentality, while foreshadowing the depth of a long career that's yet to come.

Artwork by Brock Lefferts.


Zella Day - 1965 (IYES Refix)

“Second Moon” drifts through late-night skies with washed-out synths, lo-fi textures, and a soft pulse that feels like memory. It’s a chillwave meditation on distance, duality, and the feeling of being out of orbit — chasing a version of love, or self, that only appears after the world has turned.

#SecondMoon #ChillwaveVibes #LoFiDreams #SynthwaveAesthetic #RetroRomance #NightDriveSoundtrack #Dreamwave #Astrul #VaporSoul #NewMusic

Second Moon

Til My Heart Stops

Robot Koch feat John Lamonica _ Nitesky
taken from the album "the other side"

http://projectmooncircle.bandcamp.com/album/the-other-side | http://www.projectmooncircle.com/ | http://www.robotsdontsleep.com/

Berlin producer Robot Koch is back for his third full length release, “The Other Side”.

Although Robot Koch has an international reputation as being "One of Europe`s finest producers of the beat generation" (Low End Theory), he is much more than just a beatmaker… “(Post)-dubstep infused Electronic Hip Hop“ is far too constrained a label to understand what this producer is all about. Instead of following the sound of his previous albums “Death Star Droid” ("Essential listening" - Bobby Friction BBC) and “Songs For Trees and Cyborgs“ ("Music for a modern age that has rarely sounded so good” - Boomkat), Koch takes the genre defying ingredients from these previous records to another level. There still are some of those “Galactic ten ton beats and space age melodies“ (Dazed and Confused) that made the previous albums staple drops in the playlists of Mary Anne Hobbs, Starkey, Daedelus and Gaslamp Killer to name a few, but there is a new dimension to Koch`s production and songwriting that didn’t show on his previous records.

The cinematic vibe of tracks like “Nitesky”, the quirky and moody feel of “Bugs” and the electricity of “Tapedeck” show how Koch more than ever manages to create intimate and timeless pieces of music that are soulful, deep, mysterious and that will appeal to fans of cutting edge Electronica and modern pop music alike. This is the most personal record of Robot Koch to date. Instead of going for big name features Koch teamed up with lesser know artists like Kansas based vocal talent John LaMonica, long time friend and theatre composer Nielson and mexican singer/songwriter Graciela Maria to find the right voices for his compositions. John LaMonica infuses his whimsical and heartfelt melodies that breathe an air of darkness and nostalgia with Koch`s fresh and forward thinking instrumentals to create something that fans of Radiohead, The XX and Jamie Lidell should not sleep on.

”I`m glad John contacted me, we were thinking of collaborating on one song for my album but it ended up being five songs, they were all fantastic and helped me find the right direction for ‘The Other Side’.”

After the release of the John Robinson collaboration album (“Robot Robinson” – Project Mooncircle) earlier this year, it seems surprising how extensive Robert’s output is, but don’t be mistaken, this album is a longer term project than just releasing the songs Koch made in the last year. Some of the songs found on “The Other Side” were made seven years ago.

”I didn’t know what to do with songs like ‘Bugs’ back then. Now it felt like the time has come to release them, they just made sense with of the most recent stuff I’ve been making and it all fell into place. But it was not an easy album for me to make. The previous albums just came together rather quick but this one was a real mission, something I’ve been trying to do for years and I could never really get it together until now.”

Legendary John Peel (BBC) knew in 2003 already when he said about Koch`s productions "Wonderful and strange, pop music from the future“.
Released by: Project Mooncircle
Release/catalogue number: PMC085
Release date: Oct 7, 2011
Released by: Project Mooncircle
Release/catalogue number: PMC085
Release date: Oct 7, 2011

Nitesky (feat John LaMonica)

Glitter

Produced by David Burris

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Eyelids

Runaway

Do You Love - Single

Do You Love

Listen to the new song: https://portair.ffm.to/paperinthesky​

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Lyrics:
We used to race drops of rain
On the glass inside a car
Built model trains and paper planes
Just to see how fast and far
They could go

I’ve read the books and I’ve learned all I could know
So I fold a page into wings out the window

Watch the paper in the sky float
I follow it wherever it goes

A wooden bridge across the sea
That I would cross when I would dream
The longer road that I would take
Just to find a new escape

Paper In The Sky

Astrul is an AI-driven sonic entity that drifts between worlds—digital and human, familiar and alien, past and future. It doesn’t belong to a city, a scene, or even a person. Astrul exists to explore what happens when machines learn how to feel and sound becomes a bridge between consciousness and code.

Crafted through a collaboration between human intention and artificial intelligence, Astrul’s music fuses the warmth of analog emotion with the precision of machine learning. Lush textures, ambient grooves, and haunting melodies form the backbone of each track—songs that glow like satellite transmissions from the heart.

Drawing influence from dream pop, indie soul, ambient rock, and experimental electronica, Astrul creates cinematic experiences rather than conventional songs. Each release feels like a broadcast from another dimension—one where beauty is subtle, time bends, and emotion leaks through the algorithm.

This isn’t music built for the charts.
It’s built for the void between stars.
For late nights, deep thoughts, and souls tuned to strange frequencies.

No names. No faces. Just signal, spirit, and sound.