The End Of The Line

Float 2013

Broken Patterns

Peter Broderick – Broken Patterns

The title-track from the forthcoming Dalot EP Ancestors.

Dalot - Ancestors

Loveless

A journey through the seasons with a bear.

Stillness

etude 4. More complex for experienced people. Etude in Emaj.
In Dutch: moeilijker en meer voor ervarener mensen. Oefening in Emaj.

Romances oefening 4

Purl & Deflektion / Celestial Bodies [ETNL25] 

The third installment to emerge from the creative mindmeld of Ludvig Cimbrelius (Purl) and Olle Hallqvist (Deflektion)

Celestial Bodies

Purl & Deflektion - Moon [clip] / from new album 'Celestial Bodies'

In 2016 ATLAS Arts, in partnership with Artangel, brought Bethan Huws’ film Singing for the Sea (1993) to the Isle of Skye. Huws’ film documents a group of eight Bulgarian women, the Bistrista Babi, who Huws invited to travel from their home in the heart of Eastern Europe to the edge of an island, to the north east coast of England. She then asked the women to sing to the North Sea.

This film installation marked the start of A Work for the North Atlantic, a year-long programme of commissions, exhibitions and workshops exploring singing and the sea. As part of this ATLAS commissioned a new piece of work by Richard Skelton.

Skelton has created a multi-channel composition that evokes Huws’ work and its re-sited presentation in the Scorrybreac boathouse, Portree. He has turned his attention to the west, from the North Sea to the North Atlantic. Exploring traditional songs, field recordings, and inspiration from the landscape of Skye, its seascape and the stories that accompany them, Eilean Fuinn suggests that the sea and the landscape are "endlessly singing to each other" over the vastness of geological time.

Richard Skelton - Eilean Fuinn exceprt

Fallen

Small Collisions

Arabesque (tomonari nozaki /2018)

https://ftmots.bandcamp.com/album/sleep-stations

From the Mouth of the Sun (aka Aaron Martin & Dag Rosenqvist) return with ‘Sleep Stations,’ an EP of six new songs, out May 18th, 2018 on Lost Tribe Sound. ’Sleep Stations’ rests comfortably alongside 2017’s ‘Hymn Binding’ their third full-length album and their original score for Joshua Z. Weinstein’s feature film, ‘Menashe.’ With ‘Sleep Stations’ the duo assures us that their exquisite palette of classical leaning, electro-acoustics reaped from their previous albums still leaves much to be explored.

In fact, the pieces of ‘Sleep Stations’ were composed during many of the same sessions as ‘Hymn Binding’ and ‘Menashe,’ yet they feel like a natural continuation of From the Mouth of the Sun’s sound, a stepping stone towards the next chapter, if you will. The core sound will be instantly recognizable for those who’ve followed their previous endeavors, comprised of cello, piano, acoustic guitars, lap steel, banjo, ukulele, pump organ, soft humming electronics and warm layer of static.

The title track ‘Sleep Stations’ was originally meant to be included on the album ‘Hymn Binding.’ It acted as a centerpiece and starting point for the music that From the Mouth of the Sun recorded later during the process of scoring the ‘Menashe’ film. The film ended up requiring an extremely spare palette, thus the ‘Sleep Stations’ EP represents a longing for a fuller and more controlled sound that exhibits the dynamic range that From the Mouth of the Sun strive for with their work.

There is a softness and detachment to ‘Sleep Stations’ more so, that seems to give the album an of aerial view of the landscape below. Where ‘Hymn Binding’ felt more grounded in the earth and soil, ‘Sleep Stations’ floats high above, feeling weightless, suspended in slow motion flight.

Arranging ‘Sleep Stations’ as an EP, has allowed Aaron and Dag to tell a shorter story, one that doesn’t have to be such a grand gesture, which is something they’ve wanted to explore for a while now. It’s a beautiful reminder, that a collection of music can still be simple yet deeply affecting, without being overwrought and excessive.
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CASSETTE DETAILS
‘Sleep Stations,’ our 3rd installment in the Dead West Tape Series, arrives on a limited pro-dubbed hi-bias tape cassette, housed in a reverse printed 300gsm heavy stock outer case. The edition (limited to 100) also comes with a download card offering a choice of formats including FLAC, 320K MP3, etc. Mastering was performed by Matthew Collings (aka one half of the duo Graveyard Tapes).
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DEAD WEST TAPE SERIES
Dead West is a series of limited cassette tape releases from the Lost Tribe Sound record label, inspired by the relocation of the LTS headquarters from the dry desert of Arizona to the lowland plains of Wisconsin’s farm country. The Dead West focuses on music built for exploring and soundtracking your environment, whether you're deep in the middle of lush woodlands, or just laying back at home with rested eyes. ‘Sleep Stations’ is the third release in the series. The first two releases in the series come from the composer William Ryan Fritch (Ill Tides) and experimental guitarist Seabuckthorn (I Could See The Smoke).
___________________________________________ 
credits
releases May 18, 2018

Music & Arrangements by Dag Rosenqvist & Aaron Martin
Mastering by Matthew Collings
Cover Image: NASA/JPL/U of Arizona
Layout & Design by Ryan Keane
© Dag Rosenqvist / Aaron Martin / Lost Tribe Sound LLC
Published by Settled Scores LLC (ASCAP) 2018

About the Birth of Stars

Track taken from the upcoming album 'Replicas' by Gideon Wolf...

...

Constructed over 2 years this album has been slowly pieced together, reshaped, scraped, re-written and made again before becoming the album you are listening to now.

Replicas’ is a dark journey into a past, present and future that is personal, and reflective of wider concerns shaping this island(s) we live on.

At points angry and born out of frustration and angst for the times we are living in, this album goes back to my roots; a council flat in South East London, freedom, degradation, concrete, community, rich, poor, the melting pot of cultures, music, and people.

As cultural lines have been drawn in a different way through gentrification, a poverty divide similar to those of the 80’s and the b word, I have found myself struggling to accept my own place as a working class composer, father and human.

This album I suppose you could say is a meditation on the urban sprawl I grew up in, getting older, and my place in a community that feels like it has lost its way. - GW

...

Music - Gideon Wolf
Mastering - James Plotkin
Design - Daniel crossley
Alex Taylor - Violin, Electronics
Gabi ‘Moog’ Matzeu – Moog, Juno, SH101
Steph Patten – Cello
Yoon-Ji Kim – Violin
My family (also in no particular order) Rachel, Reuben, Neath and our latest addition Nova.

...

www.fluidaudio.bigcartel.com

Replicas

Gideon Wolf - Profit

“A miracle is a shift in perception from fear to love.”

As with most things in life there is a backstory to how this single came into being. Earlier this year Craig and I invited Kira Kira to contribute an album to our new label Letra Rec, and to our combined delight she agreed! A plan was hatched and we expected to hear results early 2019, and promptly got on with our other activities.

Early December I received and email from Kira Kira with an mp3 and the seed of an idea, to release a single “A miracle is a shift in perception from fear to love” in celebration of the winter solstice, the forthcoming holy season and Kira Kira’s birthday. After a few back and forth mails the idea had begun to take root and things were in motion. I would remix the track as an exclusive digital b-side, and in the spirit of the season we would donate all proceeds to UNICEF’s Yemen appeal (https://www.unicef.org.uk/donate/yemen/). 

It has been a mad rush to the finishing line getting all the bits together but with hearts full of hope we are pleased to release into the world “A miracle is a shift in perception from fear to love”.  We would also like to send a big hug to our friends at Boomkat for hosting this yuletide release. - Andrew Hargreaves (TLO)

.......

I came across these words in “A Course in Miracles,” one of the greater canons of contemporary spiritual literature originally published by The Foundation for Inner Peace in 1976. When I read this for the first time: “A miracle is a shift in perception from fear to love,” something changed in me. It felt amazing, just reading these words, so I underlined them. And then I wrote them up on a piece of paper and taped it to my wall. Can it be that a bouquet of words has presence? Spirit, even? Being fearful is a pain, it truly is. I’d like to be in love, not fear, so I began to witness these kinds of shifts. To consciously, actively transform fear to love by being present with it and singing is such a primal, effective way to do that.

I’ve practiced Yoga and meditation avidly for about 10 years now and so I am well familiar with the practice of using mantras as medicine for the mind and spirit. But finding words outside the traditional arsenal of healing mantras that resonate with me personally was something else and has taken things to a new level. 

I hope this one can be of service to others as well. - Kira Kira

Purchase: https://boomkat.com/products/a-miracle-is-a-shift-in-perception-from-fear-to-love

A Miracle Is A Shift In Perception From Fear To Love

KIRA KIRA - A Miracle Is A Shift In Perception From Fear To Love (TLO RMX)

from 'Supersonic Moth' [CD|LP|DIGITAL]
Denovali Records · den314
available on all formats at http://denovali.com/kubakapsa

Kuba Kapsa is a Polish pianist and composer - also known as the leader of the avant-jazz combo Contemporary Noise Sextet. Beyond that he's a renowned composer for film and theater plays. After presenting his composition works for ensembles in 2015 and 2016 he now returns to Denovali Records with his new piano solo album "Supersonic Moth".

The album is basically written for upright piano played through felt, programmed electronic sounds and processed piano recordings in order to create in-depth atmospheres and sonic landscapes with a wide range of stimulating moods. Based on piano ideas enriched with his improvisation skills, "Supersonic Moth" is mainly calm, dark and cinematic. Kuba Kapsa again managed the sophisticated feat to combine modern classic with subtle drones and floating soundscapes, accentuating his emotive piano play with a deliberate use of electronic elements. Some titles refer to the final poem at the end of the album about a moth which ends up dead, flying towards the light.

"Supersonic Moth" is the musical realization of a specific trait in human existence, dealing with the disruptive contradiction of desiring something that might break one down or even kill. Everything that might be tempting. Everything that can push you down. And you know it. But you can't resist it."

The impressive artwork for "Supersonic Moth" once again was provided by the collaborative artist team Kahn & Selesnick.

Kuba Kapsa - Unspoken Is Better

Denovali

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