Dream OST

warm echoes

Your Top Songs 2021

Best 2020 Records - Part 1

r@ 5 pt 5

SOPHIE -
INFATUATION (LICHTBOGEN DREAMIN' REMIX)
INFATUATION (SUNLIGHT ZONE)
INFATUATION (TWILIGHT ZONE)
INFATUATION (MIDNIGHT ZONE)
INFATUATION (THE ABYSS)
INFATUATION (THE TRENCHES)
INFATUATION


https://soundcloud.com/msmsmsm 
🙏
https://soundcloud.com/msmsmsm/sets/sophie-oil-of-every-pearls-un-insides
https://www.youtube.com/watch?v=FG9NBZs9ow0
https://www.youtube.com/watch?v=vdpSsK8uPbw

SOPHIE INFATUATION MIX

See here for more info: bit.ly/3fewp3f

Support AQNB with a monthly subscription to our Patreon: www.patreon.com/aqnb

Evita Manji, 'Oil/Too Much' (2021). Courtesy myxoxym, Athens.

Read: https://bit.ly/2Z5TwrI

EYES/NOT ENOUGH is an emotional response to the fires in Greece which occurred this summer. Witnessing devastating environmental destruction, the track channels the immense sadness in the face of apathy, and the frustration felt in trying to bring attention to the causes of such catastrophic events. The vocals broadcast an appeal to action, but are at the same time are an acknowledgement of powerlessness. Collaged and intertwined, murky lyrics blend with rich layers as they ask for some sense in a reality which can no longer be sustained.

Evita (@evitamanji) performs live alongside performances Eartheater and Soho Rezanejad at the Stavros Niarchos Foundation Cultural Centre (SNFCC) in Athens on October 9th. 
Resident Advisor Event Link + Tickets: https://ra.co/events/1462486

Premiere: Evita Manji - EYES/NOT ENOUGH

Is It Cold In The Water - SOPHIE (A. G. Cook Edit)

New single from the new album "Slide" 
Just announced! Preorder the vinyl, cassette, or digital today: http://music.georgeclanton.com/album/slide
Song is also available on Spotify.

"Slide" will release on August 17th with 3 album release shows
August 16 - Philadelphia (PhilaMOCA)
August 17 - Washington DC (Black Cat)
August 18 - Brooklyn (Elsewhere

tickets are available for those dates and other dates this month in Texas and New Orleans at www.georgeclanton.com

George Clanton - Dumb (New album just announced!)

Ponyboy

It's Okay To Cry

@Oli_XL — "DnL"
from "Rogue Intruder, Soul Enhancer" (2019)
http://x-l.love

“Can you be my ringtone... I Feel liquid Love! 🗯”. The debut album by Oli XL. Artwork drawn by Roberto Ronzani._

✴︎

Special thanks to Emilie, Zak, Lisa, Anton, Emilio & Robin.

Oli XL — DnL

Listen to all tracks from ‘Utility’ in full at https://sambarker.bandcamp.com/album/utility

On his debut solo LP ‘Utility’, Barker [@voltek] turns his focus toward melding experimentation and dancefloor pragmatism with the psychology behind the musical decision making process.

‘Utility’ is a playful but non-ironic musical approach to a whole spectrum of utilitarian and transhumanist ideas: from models for quantifying pleasure and “gradients of bliss” to abolishing suffering for sentient beings (not just people) through the ethical use of drugs and nanotechnology. Over nine tracks, Barker’s vision ebbs and flows through waves of deeply psychedelic musical vignettes; free-floating and futuristic melodies and rhythms as targeted brain stimulation.

Listen now in full

Barker | Paradise Engineering

OIL OF EVERY PEARL'S UN-INSIDES

Immaterial

Stupid Love

Green

Creek

Rain On Me (with Ariana Grande)

Chromatica

Free Woman

Alice

Chromatica I

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

Phoenix: Flames Are Dew Upon My Skin

Eartheater - How To Fight (PAN 112)

track 5 from Last Birthday
https://7-0-3.bandcamp.com/album/last-birthday

Bandcamp

Flashlight

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: bit.ly/2XtJGvQ

Eartheater - Volcano (PAN 112)

Plucking a Cherry From The Void

Exit Flatland

Devotion

Haze

BIPP (Autechre Mx)

DOWNLOAD BIPP
iTunes - http://smarturl.it/bipp-itunes
Bleep - http://smarturl.it/bipp-bleep
SOPHIE SHOP - http://smarturl.it/bipp-shop

SERIES OF SINGLES TO BE RELEASED AS SILICON PRODUCT, SILICON BUBBLE CASE, CD, VINYL, DIGITAL ON NOV 27 2015. SOPHIE MERCHANDISE SHOP http://shop.msmsmsm.com

STREAM
Spotify – http://smarturl.it/SOPHIE-Spotify
Apple Music – http://smarturl.it/SOPHIE-Apple
YouTube – http://smarturl.it/SOPHIE-YT

http://msmsmsm.com
http://soundcloud.com/msmsmsm
http://twitter.com/sophiemsmsmsm
http://www.facebook.com/msmsmsmsophie

http://nmbrs.net
http://soundcloud.com/nmbrs

Exit Flatland

Cecile Believe