In March of 2018, German composer and pianist, Tim Linghaus, released his debut full-length, titled Memory Sketches. I have immediately connected with his sonic palette and the concept of capturing a memory with music [for preservation and materialization thereof], and have subsequently selected the album as one of the best of the year, in Music For Watching The Snow Slowly Fall In The Moonlight list. Brian Housman of Stationary Travels has also picked up this fragile work, and in his syndicated words for Headphone Commute acknowledged that “bring this to realization in a sincere and compelling way that deeply affects the listener requires tremendous sensitivity to mood and texture…” Of course, I tend to agree. Following the release, Linghaus appeared on Sound In Silence with a collection of “B-sides,” and then again, a year later, with a 30+ min album of sixteen vignettes, titled We Were Young When You Left Home (Schole Inc., 2019) examining [his?] childhood emotions experienced during a parental divorce. Today I am premiering a brand new track for you, this time is taken from Tim’s upcoming release titled Memory Sketches II, which, as you can tell from the title, is a follow-up to his debut, once again focusing on shaping and archiving the memories with beautiful sound.

"Sometimes it can be felt. This sort of fact that a certain moment is a crucial one in our lives. But mostly we breathe and walk and talk and act without recognizing how huge the moment actually is, how important the memory of it will become for us. As for my part, Memory Sketches II is the second try to give my most precious memories a shape because, otherwise, they might disappear together with the person, the scent, the sound or whatever it is that the memory is about." — Tim Linghaus

The rhythmic journey of adolescent immediacy through rushing emotions, the discovery of new experiences, and, much later on, reflection on these initial feelings, are all conveyed in this very first track appearing on the album. On the fifteen successional pieces, Linghaus explores further recollections of heartbreak, repetitive school daydreams, and projected fantasies of a childhood long gone. The piano is occasionally gently cradled by lo-fi treatments, some strings and synth sequences and pads. It’s all rather lovely, a bit introspective, nostalgic and melancholy. Just how I like it… as if these memories were mine. Stay tuned for the full-length, released on the Japanese Schole Records on a CD, and Swedish 1631 Recordings on digital, on October 29th, 2021. This single is out this Friday, and then you can pre-order the album from Bandcamp.

Memory Sketches II

Running To School With S

TRACK PREMIERE : Tim Linghaus - Running To School With S

Offered as metaphor and delivered as analogy...

The Blizzard That Birthed Her is the continuing echo of this year’s Home Normal success, Book Of The Folded Forest. Birthed as two original Orla Wren tracks ‘Five Acre Ladder’ and ‘Mountains And Wishbones’ which were recorded in the same session, Tui then worked the cello, bass and vocals of Aaron Martin into two alternative versions of each track, making up the 4 tracks on the 10” vinyl for Facture.

He then offered the same to Isnaj Dui who contributed some flute for him to then create the two versions with her as guest. To complete the companion 8 track letter pressed CD version the two "reprise" versions were created by Tui utilizing parts from the other tracks.

Mastered precisely by James Plotkin, the project is released as a limited edition run of 300 copies designed by Daniel Crossley; 4 track 10” vinyl on reverse board heavy card with printed inner sleeves with designs by Montreal designer Urban9, download code, 8 track 4-panel letter pressed CDs with wrap-around letter pressed bands, 4 prints resting inside typed/numbered glassine photo bags, 2 x double sided large prints, pressed flowers, all resting inside large tagged/scented letter pressed envelopes with beautiful artwork again by Urban9.

To accompany the album an exclusive promo film was made for the track Five Acre Ladder (re-prise) by Lumacell. And a very special exclusive bonus track The Cup Of Remembered Things is also included as a free download.

A returned honour of growth and loss, this album complements her predecessor as an expressive companion piece requiring little explanation.
credits
released 01 December 2013
.........

Audio: Orla Wren / Aaron Martin / Isnaj Dui
Mastering: James Plotkin
Artwork: Urban9
Package Design: Daniel Crossley

http://fluidaudio.bigcartel.com/product/orla-wren-aaron-martin-the-blizzard-that-birthed-her

Mountains And Wishbones (Orla Wren with Aaron Martin)

Missing You All

From the new album Asperities.

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Asperities

Hellebore

Taken from 'Earthworks' by Drombeg

CD | Digital: futuresequence.bandcamp.com/album/earthworks

'Earthworks' is Thom Brookes' debut album as Drombeg, following his acclaimed EP ‘Notes From The Ocean Floor’ in 2015. A soundtrack for the middle-of-nowhere, the wild landscapes of Brookes' native Southern Ireland are littered with historic (Tumulus), and geological (Béarra) structures hardened under the relentless elements. Sinuous string melodies, and tender piano phrases reach like sunlight breaking through heavy clouds, blended with electronics and field recordings in careful balance to produce a rich cinematic sound.

Handfuls of Clay by Drombeg

Swimmer among the Stars

Swimmer Among the Stars

Jim Perkins - Swimmer Among The Stars

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

It’d be a laborious task to run through all of Fritch’s many accolades, since 2009 he has released over 20 albums and composed music for over 30 feature films and more than a hundred short films. Lost Tribe Sound has been by his side since the beginning, releasing a few of his finest stand alone scores, including the critically acclaimed, ‘The Waiting Room’, ‘Eagle Hunters in a New World’, and ‘The Old Believers.’ Of course, LTS could boast for days about what a musical genius we believe he is. Yet, having written so many of these press rants for Fritch in our time, we’ll try to curb ourselves at the risk of preaching to the choir or sounding disingenuous.

That isn’t to say, Fritch isn’t well deserving of mountains of praise. We are honestly amazed that his film music hasn’t attracted the attention of more major motion picture studios. To date, Fritch has penned imaginative and impressive scores for narrative and documentary productions that run the gamut of most every imaginable genre and aesthetic. From raw and emotional films that uncover startling humanitarian and ecological crises, such as 2016’s Oscar-nominated short film ‘4.1 Miles,’ and National Geographic’s sweeping ’Into The Canyon,’ to eccentric and nuanced biopics and documentaries on figures such as Ursula K LeGuinn, Bill Nye and Johnny Cash. Fritch has found unique and artful voices for these wide ranging stories.

Most of those familiar with Fritch, know only of his albums as a singer songwriter or genre-elusive multi-instrumentalist, which truly represent a small fraction of the depth and range of his work. ‘Deceptive Cadence…’ gathers the most remarkable and memorable pieces from Fritch’s vast catalog of film compositions. Rather than filling up two volumes with half assembled film cues and fragmented themes, Fritch has gone to great lengths with ‘Deceptive Cadence…’ to make sure both volumes tell a story, build theme, and create a satisfying full album experience as good as any movie they may have come from. While this music once graced a particular film, show, or commercial, it has all been reimagined, reworked and made whole in post-production to complete the epic narrative of ‘Deceptive Cadence…’

Cover Image by Joe Borreson (http://www.dustclouddesign.com)

Deceptive Cadence: Music For Film Volume I & II

Reshuffle the Deck

Buy Album

William Ryan Fritch - Reshuffle the Deck (from Deceptive Cadence: Music For Film Vol. I & II)

The title DeeDee is a clue to the approach behind it’s creation and the whole track is a larger hint for what’s in store on the EP. D and E are the pitches around which the track is built, but these notes are also taken from an earlier release and this is the theme of the track and the EP. It is all made from bits and pieces of Leah’s previous releases that have been reconstituted and repurposed to create new music (A copyright lawyers nightmare). The single also has birds as a theme at it’s heart which is evident from the video for DeeDee which breaks up flocks and murmurations of birds into patterns which mesmerise and at times resemble Rorschach tests.

DeeDee is out on 11th Feb with the full EP 'Bird Rib' out on 19th March.

Bird Rib

DeeDee

Leah Kardos - Deedee

Listen / Purchase here: https://lnk.to/ftmotslc

Aaron Martin and Dag Rosenqvist return as From the Mouth of the Sun with the much anticipated fourth studio album, 'Light Caught the Edges' (out October 15th, 2021 on Lost Tribe Sound).

NPR's Tom Huizenga said of the pair's 2017 album 'Hymn Binding,' "If From the Mouth of the Sun's mission... is nothing more than beauty itself, they have succeeded on a disproportionate scale." That quote does well to encapsulate Martin and Rosenqvist's main motivations with the project. Does one truly require a lengthy narrative with music as potent and emotive as From the Mouth of the Sun?

Lost Tribe Sound has long-admired From the Mouth of the Sun's ability to remain focused on the music. Despite the duo having a clear vision and a strong understanding of composition, there are no grand statements or overly academic concepts at play. This allows the music to just be what it is, moving, deep, personal. This unadorned approach is refreshing. The music feels like a blank canvas, easily approachable... rooted in the physical... its emotion is tangible.

Light Caught the Edges

From the Mouth of the Sun - For a Moment We Were Weightless (from Light Caught the Edges)

Perceptions

Detached

Julia Gjertsen - Detached

Jay Chakravorty - Sunlight At Stratford Station

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Licensing enquiries/send a demo: info@bigoandtwigetti.co.uk

Leah Kardos - Deedee

bigo & twigetti

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