De'shmember

Clan Of Xymox - No Words

Submitted for the Spike Lee - 40 Acres and Mule production 'Da Sweet Blood of Jesus' soundtrack (2014).  Original version available on 'Greasekydz - Big Bass Monster', IGLOO Recordings(2010)

http://www.amazon.com/Big-Bass-Monster-Ep-GreaseKydz/dp/B003IOQS10

Greasekydz - The World Is A Stage (Remix)

Creature Dreams

Fallen Arches

Super(b)-Child-Ran

Phemy

Rappayamatantra - EP

$easons

New album 'Blind', released 11 March 2022 on Brainfeeder: jameszoo.lnk.to/blindSo

Fool

Flake

Your Afterlife Is Cancelled

High Calvinism

My Throat = Abyss of Tar

In Greenland, Alone

Lithium Hangover / Ordinary Morphine

All Doomed

Iridescent Effigy to Hades

Emissary of Light

Alive With Desire

Portents to Beauty

🎧 https://spiritofhardstyle.lnk.to/TheTimeHasComeSo

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The Time Has Come for the legend to collaborate with the talented prodigy Devin Wild! This led to this masterpiece in which both groundbreaking sounds blended perfectly! Just sit back and let the music do the thinking! 

🔽  Follow Noisecontrollers online:
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YouTube: http://www.youtube.com/noisecontrollers

🔽  Follow Devin Wild online:
Website: http://www.devinwild.com/
Facebook: https://www.facebook.com/devinwildnl/
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Youtube: https://www.youtube.com/user/devinwildnl

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The Time Has Come

Noisecontrollers & Devin Wild - The Time Has Come

In the Same Room

Overground in China

Tunes Of Negation - Reach The Endless Sea
Format: 2xLP  
Cat.No. CR10
Pre-order: http://bit.ly/2MYQDkp

As it has become a somewhat common occurrence in his discography, Shackleton’s Cosmo Rhythmatic debut as Tunes Of Negation opens with a song. Its structure and, most importantly, themes, can be integrally traced within his rhizomatic net of creations, consistent with a process that’s regularly wandered through spiritual depths by means of sonic perseverance. Sung by Heather Leigh, the double – cantos continuum of “The World Is A Stage” and “Reach The Endless Sea” deal with time, or rather its illusory, treacherous nature, as well as spiritually investigating ideas of immortality, memory, and grief.

Ultimately, it is a meditation on the non-finitude of life and spirit, and the limits of perception in dealing with it. It could be argued that the whole record, as well as Shackleton’s whole body of work, represents an attempt to break those limits and trespass beyond human experience, incorporating an immense vocabulary of music traditions in order to ditch linear narratives and the established grammar of electronic music.

Shackleton’s usual arsenal of resonating woods and metals, ceremonial polyrhythms and astral melodies acquire a freer, more spontaneous character by the intervention of keyboardist Takumi Motokawa and mallet player Raphael Meinhart, whose symbiosis with the producer generates a truly beautiful and multi-directional flow of energy. The sacral austerity of the music is paralleled by its sheer, seductive, harmonic power, one that draws new trajectories in time and space with its seemingly endless layers of arpeggios, beats, and drones.

For all their complexity and propulsion, these are indeed Tunes of Negation. The title, inspired by a poem by 13th Century mystic Jalalu’l-Din Rumi, is a description of what Shackleton himself hopes to achieve with the music, to “aid transmutation and enter into the light”.

Music written and composed by S. Shackleton except track 3 by S.Shackleton and T.Motokawa. Words for tracks 1 and 2 by S. Shackleton and H.Leigh.
S. Shackleton does the programming, electronics, synthesizers, and all related stuff.
T. Motokawa plays harmonium, keys, percussion, gongs.
R. Meinhart plays mallets and percussion.
Guest vocals on tracks 1 and 2, Heather Leigh.
Artwork by Zeke Clough.
Mastered and Cut by Rashad Becker @ Dubplates and Mastering. 
© Cosmo Rhythmatic 2019

De'shmember

Binocular Rivalry