Music is self produced, mixed and mastered. Tracks are laced with field recordings I've taken from around the world.
Contact & Remix enquiries:
sightmusic101@gmail.com

UK resident Dan Smith is not a musician in the traditional sense. Calling himself a “field recordist”, Smith captures sounds similar to how photographers take snapshots,fabricating his accounts into an mesmeric audio experience. His debut album, released under the recording pseudonym Sight, is a curated travelogue of sonance sculpted with an electronic rationale. Monsoon documents Smith’s two months spent recording organic sounds throughout India. Starting in the most southerly state of Kerala, Smith gradually worked his way along the west coast, finalizing his trek in the bustling polis of Delhi. Along the way, he gathered audio samples that etched out his encounters: local children and buskers, champing camels and chanting holy men, bird songs and temple bells. Travelling to an unfamiliar culture can be a transcendental affair for anyone, too often recalled through shaky photos and cheap tchotchkes. Smith’s music goes beyond memorable keepsakes, expressing emotions and bringing documented events to the present via his meticulous samples and deft studio work.

Opening with the fly-on-the-wall sensations of “Snoring Babas”, the chaotic experience of a train journey is suffused over your listening space. Muffled squawks and sweaty crowds shift in and out of earshot as locomotive machinery builds and interplays with a solitary sitar. Smith’s use of commonplace ambience is particularly engrossing, whether it is a tea kettle whistle on “Liquid Streets” or footsteps in gravel on “Sugarcane”. The patchwork methodology creates a sonic quilt, reminding of the microsampling used on Axel Willner’s The Field project. Each piece is diced and arranged, making it difficult to distinguish in its new aural context. Where Smith deviates from Willner is with his commitment to the origin of the sample, preserving each distinct specimen’s purity as the context evolves.

Another engaging element found on Monsoon is the true global immersion that the album provides for the listener. Sight’s blend of beats and culture on “Bombay” is particularly striking, bringing to mind the jetset vibes produced from electronic gurus Bonobo and Gold Panda. As their work is best suited for the club or crowded venue, Sight’s compositions are an insular earbud trip. “Blackouts” brings a similar setting, but gestures discordantly with a shadowy anxiety. Tones ebb and flow, sketching dark alleys and a sweltering climate, cultivating imagery that races through the listener’s conscious. Whether someone has traveled to India previously or is still long for that adventure, Monsoon brings an immediate rush to a willing headspace, emulating all of the chaos, grace, and romantic notions a once-in-a-lifetime voyage can bring. - Matthew Voracek, Impose Magazine


MDS ( Paul Jones ) got into rave music at the age of 14 stealing his sisters tapes of world dance, the edge, dreamscape, obsession to name but a few. Having been beaten to within an inch of his life he was compensated and spent his winnings on decks. He dropped out of school and got a shit job and spent all his wages (80pw £2 ph) getting trains to london and loitering in black market records building up a collection. In 1998 he started producing with the image of creating a heavy amen jungle and acid techno, married into a dance floor killing style. When life4land put on their first party in 2000 he was there being the annoying little shit blagging a set. Freedom outside of the city to breath, run free and play music that would not be welcome in any ‘respectful’ sweaty prison of a club had him hooked. He went on to play sets at and play a part organising a lot of the early L4L parties. All the time working on producing (at which point the aim was to write a set) alone and in collaboration with other members. The style he set out to create finally reached maturity around 2005 with Dekay and Warehouse Masika to name but two classics. He’s been qoted as saying ‘the L4L journey was a coldren of creativity where we all supported each other developed our own sound and strived to put on parties where the atmosphere was free. 15 years one one of the main original goals ‘writing enough music to play a whole night’ has long been surpassed and an L4L night is something unique’

Silly songs I create when I am bored or have time on my hands, not very good or thought out generally just improvisational and all made with my phone so dont expect greatness

https://linktr.ee/silentalkaloid

www.muiminasounds.com

Text me for exclusive rights +447365 338 838
Donate Paypal kamil.rewers@gmail.com

Ambient // Post Rock

Contact me: Empirealivemusic@gmail.com

'[Empire, Alive's] canon provides respite in between the white noise of nights out. Influenced by the likes of Sigur Rós, the music of Empire, Alive seems to command a similar sonic space despite being from just one (small) man.'
Tom Stockley, Cornwall Music Seen 


'The haunting yet incredibly gratifying use of guitars, enhanced by the well-placed background noise and subtle use of percussive elements keeps you completely in awe while listening to the music produced by Empire, Alive. With his effective use of graduating colossal reverbs and very natural feel to every song, anyone with a taste for post rock will instantly fall in love.' - Sans Paddle Productions Compilation Album 'Mor Kanow Vol. 1' 

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