2am study session - 3

Deviyanee Beesoondoyal : «Je le ferai dans l’intérêt du pays»

Bjork Play Dead (tim simanon 12 inch remix)

Family Tree

Bachelorette

Play Dead

Hunter

All Is Full Of Love

All Is Full Of Love (Video Edit)

Björk - come to me - slowed + reverb🧚‍♀️

originally by Sabrina Carpenter
cover vocals by Bea Go
cover recording owned by Viper Music Network

ESPRESSO (Sabrina Carpenter) - Cover

triplets

Buy on iTunes: https://itunes.apple.com/us/album/front-yard-futon/id1019377256

Follow me on Spotify: http://open.spotify.com/artist/4V7ap2HEMGNvgwdmOv4dth

Buy On Bandcamp: https://slynk.bandcamp.com/album/front-yard-futon

Thanks to the artists I collaborated with: 
AfroQBen Max Ribner JPOD the beat chef Beat Fatigue Timothy Wisdom StereoCool Mr. Bill Dunks from The Funk Hunters

Thanks for your support: Betty and Kora SectionZ Records Danio Management

Artwork by ButterVault 

Front Yard Futon

Front Yard Futon feat. AfroQBen & Max Ribner

01 Slynk Feat. AfroQBen & Max Ribner - Front Yard Futon

💗 Neon Loveletters – Vaporwave & Dreamwave by Nexus

Neon Loveletters glows with soft nostalgia, blending vaporwave haze and dreamwave warmth into a shimmering love-soaked soundscape. 🌆💞 Nexus paints midnight city skies with slow synth pulses, retro-washed chords, and romantic neon-lit textures that feel like memories you can touch.

This album drifts between dreamy reflection and glowing emotion — perfect for late-night drives, quiet moments, and anyone who finds comfort in retro-futuristic melodies. ✨🚗💜

Fading Static

Felt Mountain

Deer Stop

My healed chest wound
Transformed into a gate
Where I receive love from
Where I give love from

And I care for you, care for you
I care for you, care for you
Care for you, care for you
I care for you, care for you

https://haloed.bandcamp.com

Björk - TheGate+NotGet (Haloed Meditation Module)

Eartheater - Below the Clavicle
Format: DL
Cat.No. PAN 112S
Release Date: 5 May 2020 
Purchase/stream: pan.lnk.to/Clavicle
@alex-drewchin

Eartheater unveils a new single, “Below The Clavicle.” It is her first release for PAN since her 2018 album IRISIRI.

Eartheater shares the following about the track: “I wrote ‘Below the Clavicle’ when I was waiting to understand more about a situation before talking about it — when the meaning was still below the clavicle and hadn’t made it up to my head yet. The understanding was still underground — forging in my heart and gut. In my upcoming album, I thought a lot about lava and volcanoes and the formation of stone and mountains.”

Written and arranged by Eartheater
Produced by Eartheater
Guitar performed by Eartheater
Harp performed by Marilu Donovan
Chamber arrangements performed by the Ensemble de Cámara CSMA:
Cello - Laura Sorribas
Violin I - Belén Pérez
Violin II - Celia Álvarez
Flute I - María del Barrio
Flute II - Ana Navarro
Recorded by Eartheater and Santiago Latorre at Etopia in Zaragoza Spain
Mixed by Kiri Stensby
Mastered by Heba Kadry
Art Direction by Eartheater and Daniel Sannwald
Photography by Daniel Sannwald
Special Thanks to FUGA

Eartheater - Below The Clavicle (PAN 112)

Eartheater - Phoenix: Flames Are Dew Upon My Skin
Format: LP / DL
Cat.No. PAN 112
Release Date: 2 October 2020
Purchase/stream: pan.lnk.to/Phoenix

Composed, produced, and arranged by Eartheater alone, Phoenix: Flames Are Dew Upon My Skin draws a path back to the primordial lava lake from which she first emerged, as it also testifies to the reincarnating resurrections the project has undergone over its first full decade of existence. While the album renews her focus on guitar performance and legible structure, Eartheater balances the unabashed prettiness of acoustic harmonic songs with the dissonant gestural embroidery of oblique instrumentals. Having fallen back in love with the idioms that first captivated her, she worked to crack open the techniques that had fossilized inside of her, while still seeking to apply the electro-alchemical knowledge she picked up along her journey. The result of a laborious revival in fire, Phoenix recontextualizes Eartheater’s combinatorial approach to production within her most confident abstractions, adjacent to some of her most direct songs to date.

Eartheater composed and workshopped most of Phoenix over a ten-week artist residency (FUGA) in Zaragoza, Spain, housed in a sprawling, cubic glass facility that looked out over wildflower-flecked mountains. Following an intensive period of recording and touring, the residency provided her with an unprecedented period of solitude in the small Spanish town. Her newfound sense of isolation ultimately became liberating, leading her to sidestep the crutches and steady grids inherent to electronic music, and to conceive pieces rooted in her guitar and her desire to perform with other players live. Eartheater’s voice glows brighter than ever at the center of Phoenix’s arrangements — her familiar operatic highs are grounded by newly expanded velvety lows, leaping lucidly up and down octaves. Her intricate guitar work flits across baroque fingerpicked passages and latches into cyclical figures that meet her voice in lush harmonic progressions. From her own guitar parts, to the orchestral string arrangements she wrote for the Spanish conservatory group Ensemble de Camara, to the harp and violin lines performed by her close friends and collaborators Marilu Donovan and Adam Markiewicz of LEYA, Eartheater’s applications of acoustic instruments bring an extraordinary emotional emphasis to her compositions. Phoenix prepares for a future where electronic sound — or even electricity itself — isn’t guaranteed, but where her music could still come to life with a group of hands dexterously winding across instruments against the light of the fire.

Eartheater drew inspiration for Phoenix from geological imagery, whose turbulence and potential for genesis mirror the trajectory of her own life and relationships. The album’s instrumental pieces directly reference these moments of upheaval, colliding audio of volcano and lightning storms with resplendent string and vocal arrangements. “Volcano” looks out over the album from its peak at the center, its tectonic plates colliding in towering melodies and layers of vocal harmonies, as piano accents crest and cascade down the mountainside. When Eartheater sings, “I’m still building mountains underground,” she is trying to reconcile the pinnacles of her ambition with the comforts of a simple existence buried beneath the surface. “Diamond in the Bedrock” finds her admiring the gemstone forming under intense pressure inside her, but rejecting the romantic promise that the diamond signifies, choosing instead to escape a relationship that has come to stifle her.

Read full press release: https://bit.ly/2XtJGvQ

All Is Full Of Love (Video Edit)

Björk

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