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Colin Stetson – The First - Original Soundtrack Vol. 1

From Still Life out Sept 21/21 on limited clear vinyl.

Igor Yalivec - Campanula

from 'Symmetrie und Wahnsinn' [CD|LP|DIGITAL]
Denovali Records · den370
available on all formats at https://denovali.com/sanktotten/

After the 2020 album "Lieder Für Geometrische Stunden", Sankt Otten finally make us happy again with a new release at the beginning of 2022. "Symmetrie Und Wahnsinn" (Symmetry and madness) fits here skillfully, both creatively and musically, in an album series with geometric context.

The album starts unusually buoyant with "Hymne Der Melancholischen Programmierer" (Hymn for sentimental programmers). A Kraut-Pop pearl, which could go on forever with its Motorik swing and with its catchy melody the track doesn't come across as melancholic as the song title predicts. You have to listen twice to not succumb to the illusion that it was composed in Düsseldorf at the end of the seventies. Here (and on the track "Sei Symmetrisch Zu Mir"), Sankt Otten were supported in the studio by drummer friend DIRK PELLMANN.

The drum machine in rumbling funky mode. "Die Glücklichen Unglücklichen", the secret hit of the album? They bend the beat into geometric shapes, let the bass play in circles and cover the song with ghostly choirs. The echo of a spinett-like sound overlays the sound, spitting out a deceptively cuddly dream world.

The 10 minute long "Die Ordnung Des Lärms" could be called an Ambient-Kraut symphony without hesitation. An enormous swelling to ecstasy, a guitar sings distantly in the background. Silence. Synthetic strings pave the way and are supported by choirs. A crackle that suggests a rhythm until it is taken over by a drum computer in the main part of the track. Bombastic mountains of synthesizers pile up and yet a catchy melody finds its way through this mishmash of hypnotic electronics. Fourth movement - Kosmische-choirs in suspension over a bass synth and an Ebow guitar. Is this already Prog-Rock? The question doesn't arise, in the end everything merges into reverb.

"Luftspiegelung Der Sentimentalitäten" begins cautiously with a gentle sequence and a discreet kick drum. The mini-Moog sounds like a guitar. Anyway. A surface floats by and returns, layers and shapes build up. At last, everything melts into perfect harmony with a plaintive-sounding synth. This track was composed as a stripped back reprise of the first track from the last album "Sentimentale Sequenzen".

A hypnotic Motorik-beat of an 808 that encourages head nodding and could almost be danceable. True to style with warm analog 80s electronic sounds and a loose echo guitar. This is "Angekommen In Der letzten Reihe". Man and machine hand in hand as a homogeneous musical unit and the connection of tradition and vision.

Sankt Otten like images of infinity. In the religious sense of meditative mantras, or also in the mathematical sense of an elongated curve that eventually returns to its starting point. "Bis Das Helle Licht Uns Holt" goes exactly in this direction with its classical use of sequencers and a sound carpet of choirs. Sound worlds that, through a clever repetitiveness, barely noticeably guard the constant changes in the compositional mesh like a secret and only reveal what is to be discovered by listening closely and letting it be seen. Such a thing is probably called Berlin School?

The Osnabrück duo Sankt Otten, founded in 1999, has been releasing on Denovali since 2009. With their now 12th album they give us again a gem of timeless instrumental music. The holy trinity of Krautrock, Ambient and contemporary Electronics, but always stylistically confident and unmistakable Sankt Otten.

For the mastering New York based RAFAEL ANTON IRISARRI could be won. Also with the cover layout again good taste is proven. As part two of a cover series, this extraordinary die-cut cover artwork was again created by designer DANIEL CASTREJÓN. The vinyl version comes in a die-cut cover (in a limited transparent edition), the CD in an elegant cardboard slipcase.

Symmetrie und Wahnsinn

Luftspiegelung der Sentimentalitäten

Sankt Otten - Luftspiegelung der Sentimentalitäten

Still My World

The Crescents

A different perspective. It's just being closer. It's being closer to the Earth.

In your eyes

Sia - Snowman (Raffaele Scoccia Piano Version)

2017年5月21日発売「films」収録

Amazon→www.amazon.co.jp/dp/B06XXXRF3Y
iTunes Store→itunes.apple.com/jp/album/films/id1227390370?l=en
TOWER RECORDS ONLINE→tower.jp/item/4483859/films

宮田涼介/Ryosuke Miyata
HP: http://ryosuke-miyata.com/
Twitter: twitter.com/miche_official
Facebook: www.facebook.com/ryosuke.miyata.music/

取扱店舗一覧
タワーレコード渋谷
タワーレコード新宿
タワーレコード池袋
タワーレコード梅田大阪マルビル
more records（大宮）
Lykkelig（金沢）
Diskunion
CO- (東京都千代田区)
倉敷GREEN HOUSE
日田シネマテーク・リベルテ（大分）
Amazon
iTunes Store　ほか

(以下引用)
気鋭の電子音楽家、宮田涼介の5thアルバム。
幼少からの空想・絵空事・物語の創造と、
感銘を受けた事象の表現・昇華によって紡がれた、
珠玉のピアノ作品集。

殺風景な街並みに 次第に灯るあたたかな光。
優しく頬をくすぐる風のような 自然にそばに寄り添うメロディー。
fraqsea/aya (Shelling Vo&Gt)

なぜか子供のころによく遊んだ公園を思い出させるような、
ノスタルジックな雰囲気を持ちつつ、あくまで現代的なピアノソロ作品だと思います。
日本人ならではの作品として耳にとても残ります。
Wataru Sato/Gecko (Composer, Pianist)

映画音楽のように鮮明な、音による場面描写。そして溢れんばかりのノスタルジア。
まるで誰かの、ないしは宮田涼介の記憶をそのままCDに漬け込んだようなそんなアルバム。
自分の思い出を聴かされているような。
それは不安でもあるし安心でもあり、例えるなら裸にされてしまったような羞恥心さえ湧いてくる感覚。
車両の少ない電車の中でオレンジ色に輝いている麦畑を横目に見ながら幼馴染の友人とお話をしている自分の姿が見えます。
そんな思い出無いのに。
harogi（かろうじて人間 Vo&Gt）

Release Date: 2017/05/21 (Sun.)
¥2,000＋tax
CB-008
Label：Cat&Bonito
Artwork: ながべ、ISAMYU

tracklist:
1.sorrow
2.condolences
3.umbre
4.ank
5.waffle caramel ice cream
6.oborodukiyo
7.leafe
8.at eventide
9.hitohuta
10.orion
11.recollect
12.silent night report
13.nymphi
14.syasou

宮田涼介/Ryosuke Miyata
東京を中心に活動する音楽家。オルタナティブロックバンド「かろうじて人間」のギター担当。
2011年後半に本格的に作曲活動を開始。2年間にしてネットレーベルで5つのミニアルバムを発表し、
2013年12月、初のフルアルバムとなる「Visionary」をリリース。
2014年、fuyuru0らと共に新興レーベル「fumin.」を設立。運営に携わる。
ライブにおいては、[.que]、akisai、Meme、Chihei Hatakeyama、Hakobune、Shellingらと共演。
またSCHOLE小瀬村晶氏主宰の「虹の彼方リミックスコンテスト」にて優秀賞を受賞。
2015年3月には2nd Album「Sea of Nebukawa」をドイツで、9月に3rd Album「Archipelago」をリリースする。
2016年4月、White Paddy Mountainより4th Album「Private Cottage」、2017年には初のピアノアルバムとなる「films」をリリースする。
カフェ・雑貨店へのBGM提供、劇伴、web・企業CM向けの楽曲提供等、今後の活動が期待される。

syasou (from 5th Album "films")

just put this together today.
i might take it down to work on it more, who knows.

buy (nyp): https://otrapic.bandcamp.com/track/when-it-sung-you-to-sleep
watch the music video: https://www.youtube.com/watch?v=hEbxsNqt1Jo

when it sung you to sleep

The First - Original Soundtrack Vol. 1

Fallout

Morning Of

Stories

You Wanna Be God

Control Room

Battlefield

Download Silophone music here: http://bobguido.bandcamp.com/track/silophonic

Streaming Everywhere: hyperurl.co/LISTEN-TO-BOB-GUIDO

Watch Silophonic video here: 
http://www.youtube.com/watch?v=8N_kNHN5UVo&feature=g-upl


Music composed, produced, recorded and mixed by Bob Guido 

Electric Guitar and treatments by Bob Guido using Silophone, Montréal, Canada


Photography by Diana Shearwood - www.dianashearwood.com


About Silophonic

Silophonic is a new work from Bob Guido that explores the sounds and sights of Silo #5 - Silophone Instrument, sonic inhabitation in Montréal, Canada. The video combines new music from Bob Guido, created by using the natural reverberation and acoustics of the Silophone process and photography by Diana Shearwood, the official photographer for the original Silophone project.

Bob created this new music using electric guitar as the source instrument combined with the Silophone as a sound treatment instrument. Silophone makes use of the incredible acoustics of Silo #5 by introducing sounds using communication technologies, into a physical space to create an instrument which blurs the boundaries between music, architecture and net art. Sounds arrive inside Silo #5 by telephone or internet. They are then broadcast into the vast concrete grain storage chambers inside the silo. They are transformed, reverberated, and coloured by the remarkable acoustics of the structure, yielding a stunningly beautiful echo. This sound is captured by microphones and rebroadcast back to it's sender.


About Silophone  www.silophone.net

Silophone is a project which combines sound, architecture, and communication technologies to transform a significant landmark in the industrial cityscape of Montréal.

Silo #5 is an abandoned grain storage facility in the port of Montréal. A quarter of a mile long and over twenty storeys high, it has a total capacity of five million bushels, or enough wheat to make 230 million loaves of bread. The building was constructed in several stages between 1903 and 1958. The newest part of the building was designed to last for generations, however due to changes in the global grain market and to the general trend of de-industrialization in North America at the end of the 20th century, the building became redundant less than forty years after its completion. Since 1994, Silo #5 has stood empty, and its fate has been hotly debated. The building is situated in one of Montréal's oldest industrial districts, now rapidly being gentrified and renovated for high-tech commercial, luxury residential, and tourism/leisure industry uses.

The portion of the structure used by Silophone is constructed entirely of reinforced concrete, measures 200 metres long, 16 metres wide and approximately 45 metres at its highest point. The main section of the building is formed of approximately 115 vertical chambers, all 30 metres high and up to 8 metres in diameter. These tall parallel cylinders, whose form evokes the structure of an enormous organ, have exceptional acoustic properties: most notably, a stunning reverberation time of over 20 seconds. Anything played inside the Silo is euphonized, made beautiful, by the acoustics of the structure. All those who have entered have found it an overwhelming and unforgettable experience.



℗ & © Bob Guido Music. All Rights Reserved

Silophonic

Bob Guido - Silophonic

I first encountered Ben Chatwin's music as Talvihorros sometime in 2011 through his release on hibernate imprint. We become more acquainted when he contributed a beautiful track towards my ...and darkness came benefit compilation appearing in 2012. A few years later, Chatwin moved from London to Edinburgh and began recording under his real name. This new beginning also gave his music a refreshed and upgraded sound and with newly found confidence he moved on to the independent Village Green imprint - see Sleeper Awakes appearing on Headphone Commute's Best of 2015 lists. We've seen his follow-up, Heat & Entropy, grace the 'best of' lists a year later, but in 2018, I must admit, I was completely blown away with the Staccato Signals. Something changed entirely. Chatwin's music became cinematic, darker, edgier, blending synthetic and the acoustic, pushing the boundaries of intense sonics and textures, and totally gripping my mind. Needless to say, the album grabbed the top spot in the coveted Music For The Film Behind Closed Eyelids list of best cinematic music of 2018. This year, Ben Chatwin is back to unleash The Hum for Village Green, his sixth studio album under his own name, and today I've got an exclusive premiere from the release dropping tomorrow.

The title of the album, and indeed the title of this track, hint at something lurking behind the lights, the pipes, and concrete. That something is a sound, a drone, a purr, of lifeless objects generating life. When electricity is cut, the house fills with silence, and only then are you aware of all that constant whir you've been surrounded all time. This sonic ghost becomes the bloodstream of the dwelling, and with The Hum, Ben Chatwin amplifies its voice. This rumble is electric, growling, at times it's suffocating with the bass, its place expanded, frequencies increased, dynamics magnified. But at the center of this multi-dimensional chant lies a song, alone in space, alone in beauty. This is the song of Chatwin's music, and I've been mesmerized with all it has to say.

"When electronic artist Ben Chatwin plugged his Moog synthesiser into the mains at home one day, he was surprised to find the electrics of his home faintly singing. His house was built in the nineteenth century, and what he was listening to was the building’s natural hum. He boosted the volume, and in doing so, found the inspiration for his next release, The Hum, out on Village Green on November 6th"

The Hum

Ghost In The Machine

TRACK PREMIERE : Ben Chatwin - Ghost In The Machine

Two years after the release of his acclaimed Erased Tapes debut, ‘The Transition’, Californian singer, songwriter and multi-instrumentalist David Allred returns with a solo piano perspective on the album, aptly titled Felt The Transition — out December 18.

"Felt The Transition is a new minimalist solo piano perspective on my experimental chamber folk album previously released in 2018, called The Transition. This music is reinterpreted on my 114 year old upright piano which was very kindly donated to me by my friend Adam Selzer who previously ran a recording studio in Portland called Type Foundry. This piano is very sentimental to me as it was used by a handful of my favorite musicians on their albums over the past 20 years, namely Peter Broderick’s ‘How They Are‘ and ‘Two Balloons’.” — David Allred

Stories

Colin Stetson

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