Hello, we’re NASA. You may have seen our astronauts, rocket launches, or Mars rovers — but have you heard our sounds? From interviews with astronauts and engineers to stories that take you on a tour of the galaxy, NASA’s audio offerings let you experience the thrill of space exploration without ever leaving Earth.

scores/videos/more info at www.benwyliemusic.com

Channelled madness – the sound Dawn of Midi spent years shaping, culminating into their most mesmerising work yet

With Dysnomia, the Brooklyn-based group Dawn of Midi abandons improvisation in favour of composition, utilising sophisticated rhythmic structures from North and West African folk traditions to weave a sonic tapestry of trance-inducing grooves. From close up one may see only dots, but when stepping back an undulating image reveals itself. “We didn’t want to create anything cerebral,” says Belyamani, “we wanted something visceral, something that would awaken our instinctive dance impulses.”
Having met at California Institute of the Arts in Los Angeles in 2006, bassist Aakaash Israni, pianist Amino Belyamani and drummer Qasim Naqvi found their original rapport through late night tennis matches on the campus court. The chemistry they founded there eventually led them back indoors to improvise together; something they did in total darkness to deprive themselves of all their senses except the crucial one – their hearing.
The manner, by which a trio of solely acoustic instruments ends up sounding like electronic music, has to do with the unconventional ways the group play their instruments on Dysnomia. The record comes to life in the trio’s critically acclaimed live shows, a test of endurance and trust that involves performing their hand-looped acoustic minimalism note for note, just as the compositions were recorded. Dawn of Midi’s sets are as energetic and rhythmic as a seamlessly mixed DJ-set, mesmerising fans in the same way the group’s favourite experimental and electronic acts have for decades.
The album was recorded to 2-inch tape at Waterfront Studios in Hudson, New York - a former church that was purchased and transformed into an analogue recording playground by the great engineer Henry Hirsch. Once the band visited the studio and met Henry, an expert in analogue recording equipped with a vintage Helios console, 16 and 24-track tape machines and a superb collection of microphones, it was obvious they had to record there; it was miles ahead of anywhere else they had visited. Rusty Santos then mixed the album to make sure it would hit as hard as the group’s favourite electronic albums do in spite of it being entirely acoustic.
“We wanted to make a record that sounded both musically futuristic and sonically vintage,” explains Israni, “and since the album never saw a proper international release, it is very exciting to see what might happen when more people are exposed to it. And to be aligned with Erased Tapes, whose enthusiasm for the music they release has done a lot for exposing unique instrumental and electronic music, makes it that much more interesting.”

Dysnomia will be released worldwide on June 1st, 2015 through Erased Tapes – available on 2x LP, CD and Download.

Cepheid Flux is the electronic project of Mario  Visit the Cepheid Flux bandcamp page for more, It’s my primary music platform for the project. 🦇🎃

https://cepheidflux.bandcamp.com

Blah blah blah … who cares, haven’t updated in like centuries… (Follow this link to access my acoustic and electronic art music: soundcloud.com/mariolombardi)

Sebastian is a Vancouver-based composer. He received his formal training through the Royal Conservatory of Music of Canada, Simon Fraser University's School for the Contemporary Arts and Goldsmiths, University of London. He has written for various ensembles, ranging from string trio to choir to orchestra. He also incorporates fixed and live electronics in his projects, which play a large role in his sound in film, contemporary dance, theatre and installations. 

In December 2011, he was commissioned by SFU’s Faculty of Dance to create "the sum of its parts" with choreographer Tiffany Tregarthen for March of the following year. In April 2012, his first orchestral piece, "2.5 mg", was premiered by the Victoria Symphony and his first opera, "©alculated to death" (set to text obtained from WikiLeaks), was presented in London, England as part of the 2013 PureGold Festival.

His former work in pre-hospital health care and his interests in the rehabilitation and deterioration of the human body and mind have been an influence in his themes and structures of his compositions, and he is currently interested in presenting societal issues from a cultural perspective. Sebastian’s music has been presented in festivals and shows in Canada, England, Norway and the United States.

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