Dope track Danae! You should google 'bulletrank', they are promoters that give 500 free plays to anybody!

Tumbleweed

What banjo collection is complete without Foggy Mountain Breakdown.  In this piece I switch back and forth between standard three finger or Scruggs style picking and my own type.  My style is a Claw Hammer sound but tailored for use with finger picks.  This allows me to switch back and forth without having to take the picks off.

Foggy Mountain Breakdown, Originally by Flatt and Scruggs

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Leeds Fest Winner

NEW MIX [2019] : https://soundcloud.com/holmesuk/green-velvet-live-at-mint-warehouse-311019

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Deep House MiniMix (Leeds Festival)- Here To Be Heard [Free Download]

‘Loon’ will be released on Erased Tapes as a 12” vinyl as well as digitally on October 2nd. 
Pre-order it here: www.erasedtapes.com/store/index/ERATP072
or via iTunes: http://snip.ftpromo.net/loon

Containing five synthesiser-led pieces, ‘Loon’ was recorded in autumn 2014 across five days at Nils’s Durton Studio in Berlin, and continues on from the ambient sounds of ‘Stare’ but with the addition of more percussive elements and dub influences. For this new EP the duo wired an Oberheim 4 Voice and a Korg PS3100 to the mixing desk and performed live takes on both instruments. With all four hands on its pots, all mixes were recorded straight onto 2-track ½-inch tape.

Like on ‘Stare’, their first collaborative affair in 2012, they simply followed what was laying in front of them, and this time they were driven by some new synths, a kick drum and tape effects. Indulging in dub, the tracks where all performed rather than engineered, with Ólafur riding a few elements on faders and Nils bringing effects in and out. After running several mixes, they went for the five strongest moments from this session. The release was announced on a joint website www.arnaldsfrahm.com together with the launch of an intimate 45-minute studio film titled ‘Trance Frendz’, featuring another seven improvisations.

“Nils got some new synths and we thought we’d try them out. We loved them so much that we didn’t actually end up using anything else to make these songs.” – Ólafur Arnalds

“When I was young I was smuggled to Goa parties by my brother. The music played there in the late nineties had a somewhat deep effect on me. ‘Loon’ is almost a blurry memory of these times. In other words, it is what I’d like to remember that music sounded like back then. In fact it sounded probably really cheesy.” – Nils Frahm

Loon

Four

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Ólafur Arnalds & Nils Frahm – Four

One of four bonus tracks from the limited edition release. 

A Small Balloon and a Great Mountain (feat. Hammock) [Bonus Track]

Buy Album:
Bandcamp: http://smarturl.it/wsmbandcamp
Spotify: http://smarturl.it/settlerspotify
Itunes: http://smarturl.it/settlersitunes

Follow WSM on Bandcamp: http://westernskiesmotel.bandcamp.com
Follow WSM on Facebook: http://smarturl.it/wsmfb
Follow WSM on Spotify: http://smarturl.it/wsmspotify
 
'Settlers' is the new album from Western Skies Motel, out April 22nd, 2016 in a limited edition of 170 gatefold 180gram vinyl, CD and digital formats.  'Settlers' was mastered for vinyl and digital by Taylor Deupree, with master lacquers cut by Roger Siebel at SAE.  The first 50 Vinyl & CD's ordered come with a bonus EP, 'Generations' mastered by Kirk Marrison of Kiln.

In the dry desert of Arizona that Lost Tribe Sound calls home, a letter is received from guitarist René Gonzàlez Schelbeck who’s eager to share a collection of intimately composed songs, titled 'Settlers'. Upon listening, we are immediately enthralled. There’s a timeworn, arid, and almost badlands quality to Schelbeck’s hypnotic, cyclical guitar style. It seems to perfectly capture the lonely, barren landscape of the American West. 

Yet, there are curious dynamics at play here as Schelbeck, who makes music under the alias Western Skies Motel, is from Denmark and far removed from any upbringing in the rough-hewn Americana style of folk guitar. Conceivably, his music has more in common with the lonesome, calculated tone of Berlin's modern classical scene or the rainy day folk of the UK. Those are intriguing parallels, since the collective mood of Western Skies Motel's music would adapt so well to either environment. 

Words hardly do justice to the rich, immersive experience of 'Settlers'; yet a few may help to set the stage. Schelbeck is a remarkably well rounded instrumentalist, who spent his early days losing his hearing in local punk rock bands. This youthful love for walls of sound and discordant guitar squalls survives in his modern sound palette. However, a more mature approach to these techniques brings moments of palpable tension, adding in uneasy waves of guitar feedback and droning harmonium. 

But ultimately, the truth of what Schelbeck hopes to convey through his music may rest rmly in his subconscious. In hindsight, 'Settlers' is about moving between worlds: not in the dimensional sense, but more as a constant change in form. Each influence and sound Schelbeck incorporates into his music feels native to the delicate ecosystem of these songs and each turn feels as organic and nuanced as that of the natural world. Just as a tree’s leaves wither and fall; a fire sparks and expands only to expend its last bit of fuel, extinguished and left for ash. So true are the parallels we find in our own existence, the complex ritual of growing old and returning to dirt. Decay is inevitable for all life, yet through this it becomes the rich soil for all things proceeding. Western Skies Motel's weighty instrumental mantras may root in this and other meanings yet to be culled. One thing is clear, this music contains signicant power, and, regardless of our conceived themes or geographic locations, it tells a story that is lasting and instantly familiar. 

'Settlers' sees a 180-gram heavy weight gatefold release very similar to the recent Mute Forest debut, 'Deforestation'. The acetate and test pressings were scrutinized for anomalies on world-class vinyl setups at Arizona’s esteemed audio dealer, Arizona Hi-Fi.

Western Skies Motel is building upon a busy year in 2015, having released two very different full-length albums 'Prism' (Preserved Sound) and 'Buried and Resurrected' (Twice Removed).

Settlers

Falling Leaves

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Western Skies Motel - Falling Leaves (from Settlers)

Artist : Tambour 
Album : Chapitre II

Listen/Buy :
Bandcamp : https://modernarecords.bandcamp.com/album/chapitre-ii
iTunes : https://itunes.apple.com/au/album/chapitre-ii-ep/id1133272661
Spotify : https://play.spotify.com/album/6uYv8v3XhhsRdLXdDINY9A
BUY / 12" VINYL : https://modernarecords.bandcamp.com/album/chapitres-vinyl-edition

Composed and produced by Simon P. Castonguay (Tambour)
Piano, glockenspiel, synthesizer, electronics - Simon P. Castonguay
Violon I - Rose Frappier
Violon II - Audrée Leduc
Viola - Mélanie Venditti
Cello - Anaïs Constantin
Mixed and mastered by Pierre Duchesne

Tambour - L'apostrophe

Download/Stream: http://maddecent.fm/daruma

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Good Enuff X Daruma Compilation

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Baht & Masayoshi Iimori - Mystics

The Sun off Your Face (unreleased)

Usually I do a million takes when I record a new song. This time I stopped around take 10 to prevent perfectionism taking over.. 
So, it’s not super precise, but hey! I finished something! 
I hope you enjoy it. 

*Alice

Tumbleweed

Danae Pera

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