i am loving your piano playing in this track and the use of strings and a choir to add depth and the use of reverb is superb. the track has such a great flow and when you use the bass it enters into another dimension of synthesis ... the choir is superb (synth or samples ?) ... loving the production ;-)

Magnifik ... Nice Track... Nice Music ... I Love This ...

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

Exit

from 'Skeylja' [CD|LP|DIGITAL]
Denovali Records · den184
available on all formats at [http://denovali.com/thealvaretensemble]

--- "Skeylja" An invented word combining the Frisian word for Terschelling, "Skylge", and the Icelandic word for island, "Eyjan" ---

Skeylja is an international multimedia project, based around the ideas of improvisational music and the coming together of musicians from different countries and musical backgrounds to create a spontaneous sonic landscape. The project started when The Alvaret Ensemble (Greg Haines, Jan & Romke Kleefstra, and Sytze Pruiksma), who you may know from their eponymous debut on Denovali in 2012, travelled to Iceland to try to find a shared music language with the Icelandic musicians Ingi Garðar Erlendsson, Kira Kira, Borgar Magnason and Eiríkur Orri Ólafsson . They were joined by the 33 1/3 Collective, a group of visual artists from the Netherlands, who began to collect footage that would later be used as source material for the visual side of the performance.

Some months later, after a successful week of traveling to beautiful locations and playing music together, the group met again, this time during the Oerol festival on the island of Terschelling in the Netherlands, for a series of nine sold-out shows in an old church, all of which were being recorded. Each artist "curated" a rough plan for one evening, which could be anything from hand-drawn images to be interpreted musically to more precise plans of structures and combinations of musicians to be explored. Never were the notes, or the content of the music itself, discussed - this was instead left up to chance and developed through listening intently to each-other, trying to create an atmosphere where each player was vital, but where everyone always worked towards the whole.

After ten intense days on the island, all that was left were the memories of the audience and, luckily, a hard-drive with over ten hours of recorded music. After everyone had had a chance to listen back to rough mixes of each night and make comments, the material was taken to Greg Haines' Electricity Works studio in Berlin, where the long process of selecting, editing and mixing began. Finally, almost two years after that first initial meeting in Reykjavik, the album is complete and ready to be released into the world. We hope you enjoy it.

Participating musicians (in alphabetical order):

Ingi Garðar Erlendsson (Tuba, Trombone, Thranophone)
Greg Haines (Piano)
Kira Kira (Voice, Electronics)
Jan Kleefstra (Voice, Poems)
Romke Kleefstra (Guitar)
Borgar Magnason (Contrabass)
Eiríkur Orri Ólafsson (Trumpet, Electronics)
Sytze Pruiksma (Percussion)





Skeylja

Preorder / Buy

The Alvaret Ensemble, Kira Kira, E. O. Ólafsson, I. G. Erlendsson, B. Magnason - Borgarvatn

This is a dark tension track with pulsing bass arps, sweeping strings and dramatic drums.
Perfect for a Crime Drama.

Crime Of Passion

Weeping Willow

Kawaita Tsuki / The Barren Moon ft. Yuri Kono (Will Samson Remix)

A special release for Piano Day.

Initiated by Berlin based composer and performer Nils Frahm: today is Piano Day! 
Last year I saw this grand gesture for the instrument I love a few days after the fact and immediately put it in my calendar to honor it this year. 
This is a brand new video that Al (camera), Rutger (sound) and I put together especially for Piano Day:
https://www.youtube.com/watch?v=TPLxgugQmzU 

Let's celebrate!!

Wanna hear more?
Check out Piano Day's Facebook page here: https://www.facebook.com/pianodayoffi...
And of course their Soundcloud link: https://soundcloud.com/nils_frahm/set...

Waiting

Music by Bowrain
Mixed by Jure Vlahovič
Mastered by Gregor Zemljič

Featured in "Piano Day 2016" playlist by Nils Frahm.


A New Beginning

Veteran Erased Tapes recording artist Peter Broderick set to release new studio album 'Partners' on 19th August 2016.

Order it on LP/CD/DL here: www.erasedtapes.com/store/index/ERATP088

In an email to Robert on February 3rd 2016: 

Dear Robert.

There’s a lot I’d love to tell you about this music.

The inspiration really came when I decided to learn to play John Cage’s In A Landscape on the piano . . . I listened to a recording I had over and over again, five seconds or so at a time, picking out every single note. Then cross referencing what I’d learned with other versions of the piece as well as the original score. The feeling of playing this piece really brought me close to the piano again, and brought new life to my own piano songs.

Beyond Cage’s music, his life and practice have interested me more and more, after having read about his love for foraging wild foods and using chance operations to compose music, in a sense taking his ‘self’ out of the music. I love his so-called ‘mesostics’ and began to write several poems using that method, around this phrase:

I    
N

A

L
A
N
D
S
C
A
P
E

When it came time to record in the studio, I rolled two dice to decide how many poems to read. I rolled 5. Then I assigned a number to each poem and rolled the dice to see which five poems would be read and in which order. That’s the first track Partners, which is also the last word of the last poem I selected through this chance-based process. Track two is my version of In A Landscape. I love playing that piece so much. Carried  is a piece I wrote in Berlin which I’ve played live from time to time. There was a soft vocal loop playing out through an amplifier in the room while I played the piano.

Under The Bridge is my first ever chance-based composition, written by assigning different numbers to different notes and then rolling dice to decide in which order to play those notes. Conspiraling is another piece I’ve been playing for a while. Actually a version of this was recorded in the session that became ‘How They Are’, but it didn’t quite feel right. I like to pretend my voice is like a synthesizer in this song. Then there’s Up Niek Mountain which is a piece I finished composing while in residence at a farm in the Netherlands back in 2010, and is named after one of the family farmers there, Niek, who passed away shorty after I was there. We miss you Niek. The last song is a cover of Brigid’s Sometimes. Brigid to whom I dedicate this recording.

And then there’s Tucker, Mr. Martine, who agreed to record this album without me ever hearing the mixes. We talked about all the sounds and he set up several devices with which to manipulate the sound live, as it was being recorded and mixed down to tape. Francesco also agreed to master the record without me hearing it. I like to imagine maybe one day, five or ten years from now, I’ll walk into a café or roadside diner and hear it for the first time, playing as background music while people eat.

OK surely that’s enough for now! Sorry for blabbing, Robert. Your support has really meant a lot to me. I’ve loved having you in mind while working on this project, knowing it could very well have a home on your sweeeeeet label. Hope all is well.

With love,
Peter

Partners

Carried

Buy LP/CD/DL

Peter Broderick - Carried

Skogsrå is the closing track in Klangriket's solo EP 'Tjärn'. 

Free download: https://pianoandcoffeerecords.bandcamp.com/album/tj-rn-reworked

Composed by Klangriket. 
Recomposed by Joakim Alfvén.

Klangriket - Skogsrå (Joakim Alfvén Waltzed Up Rework)

In The Half Light

Always Here

Liam J Hennessy - Always Here

Tine Grgurevič (born in 1983 in Ljubljana), who goes by the name Bowrain, is a Slovenian composer, pianist, and music producer. Since 2014, when his debut album Far Out was released, Bowrain has been fascinating audiences with his unconventional music, which combines piano, composition, vocals, DJing and producing. This genre-bending music extends from classical and jazz to ambient, electronica, ethno and indie pop. This album was followed in 2017 by Distracted: a substantively engaging piece of music that responds to the challenges of that time’s political (Saudade, Asil, Refugee) and social issues (Time, Continuum, Home), with the piano at the heart of the album’s intimacy. In January 2020, Bowrain offered up a grandiose musical project entitled 2020 Seconds Alive, that envisioned as a journey through his life and musical outposts, with an emphasis on his collaboration with the South African band The Brother Moves On. This project was strongly influenced by Bowrain’s one-month residency in Johannesburg in December 2019. In 2022, Bowrain released two collaborative albums, Not Exactly Lost and BLOOM, which he created with musician and painter Luka Uršič - KALU and the multimedia artist JAŠA.
In April 2023, he released a solo album entitled Heal Me, which was recorded and mixed by Simon Goff in Berlin’s Vox – Ton studio. In addition to his full-length albums, he has also released several singles and EPs and composed music for works in the fields of visual arts, performing arts, and theater. He performs internationally, most often in Europe, but has also performed in the United States and South Africa. Bowrain’s live performances are delightfully unpredictable. Sometimes he appears with the accompaniment of a trio, a small orchestra or a choir, while in other cases he appears alone at the piano, with or without electronics.

“That’s why this wonderful album, is healing in nature and it’s no surprise that the trackHeal Me closes it. It’s as if you slowly enter the space opened by the piano pastoral, as a simple expression of strengthening the spirit and unwavering optimism when it comes to people, nature, vivid glowing colours, blue sky, hills and valleys, birdsong and joyful children’s chirping. All the way to love.”
- Miroslav Akrapović (Odzven) about the album Heal Me.

“Composer Tine Grgurevič drifts effortlessly between avantgarde jazz, pop and electronic music with a keen sense for minimalism and clarity that distinguishes his style across genres” - Eric Moses

A New Beginning

Bowrain

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