@mmmega - cloudTherapy
Release Date: April 20th, 2021
Mix & Master by @Go_Meee
Cover by @mmmega
SL+09
© Seedlink⁺ 2021

mMega - 60ml strawberry trapqueen

Mixed by @julienracine
Mastered by @aulicveil

Available on @ninaprotocol at: https://www.ninaprotocol.com/releases/adum-brate-light-leaks

Light Leaks

https://motionward.bandcamp.com/album/laundry

https://soundcloud.com/titofuego
https://soundcloud.com/benbondy

kevin, "capsule curve (w/ foamy sax)"

Heavy Snow ft.free version

https://soundcloud.com/jhlofficixl for https://soundcloud.com/tettixhexer

https://www.retreatradio.net/beauty-ripples

Beauty Ripples #10 w/ jhl (05/09/24)

Artist: Ilovelife
Title: I love life
Recording Length: 2:40
Recording Year: 2008
Format: Digitized from cassette found in WMBR 88.1 FM station, IASAC Archive shelf. J-Card notes read: 
"Ilovelife - A: I love life / B: Basement jam
Guitar: TM
Drums: MS
Recorded at Ram Ranch, Allston, April 2008”

Archival Notes: "TM” on J-Card likely refers to Taha Mahanian, who attended the Institute as an undergraduate between 2006 - 2010. Campus group archives and zines show that Taha was active in WMBR programming and live events, as well as staging independent outdoor jams with various bands he activated on campus using PA gear borrowed from friends at Berklee School of Music. Mahanian played in several punk and emo bands during his time at MIT, each with seemingly brief lifespans and was involved with local open mics as well. There are no other tapes or recordings attributed to the Ilovelife project, and the identity of “MS” on drums is unknown, but likely an MIT or Berklee collaborator. Work from Taha's projects as well as under his own name is found elsewhere throughout the IASAC tape archives. Note that the majority of Side B of this tape is taped over with an audiobook passage.

Ilovelife - I love life (2008)

While its title at first calls to mind a Jodorowskian kitchen sink psychedelia, Desvelada and Sprælle’s debut EP as a duo ’escaping from the body of a sleeping hummingbird’ veers tonally closer to the twilight realm of Béla Tarr. The work summons images. Empty windswept expanses, conversational vocals that seem to phase in and out of focus, spare synth bass and mournful drones create for us a hinterland of abandoned narratives, of characters unsure or unaware or unwilling to see that they are ghosts, but carrying with them a fatigued and defiant air of hope throughout.

Hailing from central Texas and west of France, Desvelada and Sprælle met in student living spaces while studying in Austin, Texas. The pair’s deep bond and friendship soon came to resemble something more like a romance, they began to produce pieces of music together, honing their skills in the small but burbling scene of Texas experimental live music. Sprælle’s art rock beginnings and distended guitar and production work folded lovingly into Desvelada’s choir upbringing and live vocal processing to create a sound and feeling all their own. Filmic and distant, like an aerial view of a springtime meadow timelessly marooned in suburbia instead of prehistory.

Taking cues from artists as varied as Tricky to David Berman, Ryuichi Sakamoto to Jorge Luis Borges, Sprælle and Desvelada sus from their toolkit a reserved storybook that speaks rather than sings. Percussive elements shuffle along like creekwater driftwood, loons in the reedbeds, all chirps and croaks; the arroyo at dusk. ‘escaping from the body of a sleeping hummingbird’ is a hushed purge of woodland noir, of interior poetry, watching the fog slowly overcome what’s left of the evening light, begging the spirit to speak.

Tracklist:
1. épié
2. linde cruel
3. turn to talk
4. venus purs
5. tree up ahead


tree up ahead

yr muse

Interwoven piano motifs, haunting vocal echoes. Dive into a gentle trance.

hypnotic

kjærlighed

Soundtrack is a part of the soundtrack that collects music written and composed by composers to accompany particular moments in the film. The soundtrack enhances the emotion of the film by creating a sound atmosphere for each scene. The musical score constitutes much more than a mere emotional accessory; on the contrary, music is capable of radically altering the viewer's empathy for the characters in the scene, the emotions attributed to them, the evaluation of the scenic environment, and the anticipation of the plot

tree up ahead

Contain