chillout

ignition

CCALMN

RA New Tracks June 2019

2k19•06

music for plants

What the Water Gave Me

There is a house in New Orleans 
They call the Rising Sun 
And it's been the ruin of many a poor boy 
And God I know I'm one 

My mother was a tailor 
She sewed my new bluejeans 
My father was a gamblin' man 
Down in New Orleans 

Now the only thing a gambler needs 
Is a suitcase and trunk 
And the only time he's satisfied 
Is when he's on a drunk 

Oh mother tell your children 
Not to do what I have done 
Spend your lives in sin and misery 
In the House of the Rising Sun 

Well, I got one foot on the platform 
The other foot on the train 
I'm goin' back to New Orleans 
To wear that ball and chain 

Well, there is a house in New Orleans 
They call the Rising Sun 
And it's been the ruin of many a poor boy 
And God I know I'm one 

House Of The Rising Sun - Lauren O'connell

from 'Odham's Standard' [CD|LP|DIGITAL]
Denovali Records · den191
available on all formats at [http://denovali.com/origamibiro]

Origamibiro is a collaborative project consisting of three core members: musician, soundtrack composer and producer Tom Hill, visual artist and filmmaker The Joy Of Box, and multi-instrumentalist Andy Tytherleigh. Originally started as a solo project for Tom, Origamibiro has since evolved into an audio-visual collective, producing studio music, art objects, interactive installations and hauntingly original live audio-visual performances. Origamibiro like to create work with an array of unorthodox processes and contraptions, found objects, video feeds and multi instrumentalism. Their unique live performances involve treated books, typewriters, found celluloid, paper, eerie wildlife recordings, home movies, sellotape and bespoke visual contraptions. All of these things had been added, adapted, even destroyed as a way to generate images and audio that could evoke a feeling, a response, an understanding or perhaps a question from audiences.

2014 sees the re-release of Origamibiro's entire back catalogue - the albums ‘Cracked Mirrors and Stopped Clocks’, ‘Shakkei’ and ‘Shakkei Remixed’ - through Denovali and also the release of their fourth studio album 'Odham's Standard'. Discussions concerning tone and theme took place much earlier in the writing process this time around and unbeknown to each other, both Tom and Jim were taking an interest in more supernatural aspects of audio and video material generation. Jim had begun to research into spirit photography, where images of deceased spirits are apparently imprinted onto photographic plates through the presence of a medium. Looking for an audio equivalent, Tom began looking into EVP or electronic voice phenomenon whereby hidden voices from deceased spirits appear to present themselves in audio recordings. What is fascinating about this process is not how legitimate the phenomenon actually is but how dependant it is on the decision or need of the viewer or listener to believe it is significant or even personal.

Interestingly, there have been many attempts over the years to debunk or disprove the validity of spirit photography and yet for every court case there are also a number of witnesses willing to passionately testify that not only is the phenomenon real but that it applied directly to them. Arthur Conan Doyle was the creator of the most famous detective in the world and, conversely, a staunch defendant of the validity of spirit photography. In his infamous treatise 'The Case For Spirit Photography' he is both naive and strangely prescient: “Victorian science would have left the world hard and clean and bare, like a landscape in the moon. (however) There is nothing scientifically impossible, so far as I can see, in some people seeing things that are invisible to others. One or two consequences are obvious, the experiences of children will be taken more seriously. Cameras will be forthcoming. These folk who appear to be our neighbours, with only some small difference of vibration to separate us, will become familiar.”


Odham's Standard

Origamibiro - Butterfly Jar

Mongoliak

Free Download: https://fumei.toneden.io/spotlight/fumeicast001

Follow us at:

@fumei
https://facebook.com/fumeicollective

Follow Skadi at:

@skadimusic
https://facebook.com/skadibass

Tracklist:

Think Twice - Ashtray
Felix K - Flower of Destruction #2
Akkord - Typeface (170bpm Edit)
ASC - Oneironaut
Skadi - ???
Axon & Arkaik - Alchemy
Brat Leeks x What the Funk - Salat
Bop - Noosphere
Ruffhouse - Strangers
Sam KDC - Downpour
Sam KDC - Sepia
SOMA - Survival
Keosz - Introvert


Fumei :: Podcast 001 // Skadi

from 'Nomad Frequencies' [CD|2xLP|DIGITAL]
Denovali Records · den237
available in September on all formats at [http://denovali.com/johnlemke]

An ardent moulder of sound, John Lemke began carving out a very unique music blend on his debut album 'People Do' (2013) and its follow up EP 'Walizka' (2014). Informed by his work as a sound designer & composer for documentary films and his natural inclination towards fusing rhythm with rich textures and emotive melodies, he set out on a musical path that had been long in the making and is ever evolving.

The quest for unusual, inspiring sound sources has always been at the heart of John's process, however the genesis of his second album 'Nomad Frequencies' was rooted in much more inadvertent circumstances. In the summer of 2014, forced to indefinitely evacuate his Glasgow flat and studio due to structural damage from one hour to the next, with nothing more than a laptop and a bag of clothes, John embarked on a six month odyssey of soul searching, couch surfing and spending an extended period of time in his old hometown of Berlin for the first time in years - it was to be an odyssey that would help ferment and distill the ideas of his second album on which work had just begun. 

A year of particular global turmoil and upheaval, combined with John's personal, albeit very minor, 'displacement', caused a lot of questioning, frustration and anger, which somehow found its way onto the new material: a more confrontational, at times aggressive sound, paired on the other hand with a yearning for harmony, balance and space. Other influences came less from the world of music, but rather in visual form, through the densely textural art of Anselm Kiefer and the political, yet poetic musings of film maker Adam Curtis.

Intent on refining his sound toward a more minimal, bolder style, John set out to limit his sonic palate to a handful of carefully chosen elements. At the centre of this new direction remains the muted piano already introduced on his debut, but in a much more purified and raw form. This organic base is adorned by the warm fuzzing and wavering of analogue synthesisers, tape echoes, meditative tuning forks, field recordings from John's 'exile' period and percussion based on his rigid approach to sampling, which started developing on 'Walizka'. The guiding principle of his orthodox style of recording and sampling is to only use home-made sounds by utilising his own field recordings, applying contact microphones or hydrophones to objects and instruments, running them through different kinds of speakers and re-recording the sounds to arrive at a 'lived in' quality, often misunderstood as plainly 'lo-fi'. Touches of viola and woodwinds parts (Kim Moore of WOLF and Andrew Baker respectively) provide melody fragments and subtle details throughout the journey.

With John's healthy disregard for genre boundaries, the array of influences on 'Nomad Frequencies' is vast, but never over-powering. From the meditative tuning fork that starts proceedings on 'Of Elsewhere', the dub echoes to the hints of minimalism, free jazz explosions to the Lynchian atmospherics, all elements serve nothing more than the album's narrative journey between friction and harmony, best appreciated in its entirety. A rhythmic backbone collides with rich ambience and melody, often infectious and jarring at the same time, forging a soulful whole which most likely only reveals its true self after multiple spins.

Nomad Frequencies

John Lemke - The Unwinding

from 'Nomad Frequencies' [CD|2xLP|DIGITAL]
Denovali Records · den237
available on all formats at [http://denovali.com/johnlemke]

An ardent moulder of sound, John Lemke began carving out a very unique music blend on his debut album 'People Do' (2013) and its follow up EP 'Walizka' (2014). Informed by his work as a sound designer & composer for documentary films and his natural inclination towards fusing rhythm with rich textures and emotive melodies, he set out on a musical path that had been long in the making and is ever evolving.

The quest for unusual, inspiring sound sources has always been at the heart of John's process, however the genesis of his second album 'Nomad Frequencies' was rooted in much more inadvertent circumstances. In the summer of 2014, forced to indefinitely evacuate his Glasgow flat and studio due to structural damage from one hour to the next, with nothing more than a laptop and a bag of clothes, John embarked on a six month odyssey of soul searching, couch surfing and spending an extended period of time in his old hometown of Berlin for the first time in years - it was to be an odyssey that would help ferment and distill the ideas of his second album on which work had just begun. 

A year of particular global turmoil and upheaval, combined with John's personal, albeit very minor, 'displacement', caused a lot of questioning, frustration and anger, which somehow found its way onto the new material: a more confrontational, at times aggressive sound, paired on the other hand with a yearning for harmony, balance and space. Other influences came less from the world of music, but rather in visual form, through the densely textural art of Anselm Kiefer and the political, yet poetic musings of film maker Adam Curtis.

Intent on refining his sound toward a more minimal, bolder style, John set out to limit his sonic palate to a handful of carefully chosen elements. At the centre of this new direction remains the muted piano already introduced on his debut, but in a much more purified and raw form. This organic base is adorned by the warm fuzzing and wavering of analogue synthesisers, tape echoes, meditative tuning forks, field recordings from John's 'exile' period and percussion based on his rigid approach to sampling, which started developing on 'Walizka'. The guiding principle of his orthodox style of recording and sampling is to only use home-made sounds by utilising his own field recordings, applying contact microphones or hydrophones to objects and instruments, running them through different kinds of speakers and re-recording the sounds to arrive at a 'lived in' quality, often misunderstood as plainly 'lo-fi'. Touches of viola and woodwinds parts (Kim Moore of WOLF and Andrew Baker respectively) provide melody fragments and subtle details throughout the journey.

With John's healthy disregard for genre boundaries, the array of influences on 'Nomad Frequencies' is vast, but never over-powering. From the meditative tuning fork that starts proceedings on 'Of Elsewhere', the dub echoes to the hints of minimalism, free jazz explosions to the Lynchian atmospherics, all elements serve nothing more than the album's narrative journey between friction and harmony, best appreciated in its entirety. A rhythmic backbone collides with rich ambience and melody, often infectious and jarring at the same time, forging a soulful whole which most likely only reveals its true self after multiple spins.

John Lemke - Vessel

from 'III' [CD|2xLP|DIGITAL]
Denovali Records · den246
available on all formats at [http://denovali.com/bersarinquartett]

Melancholia. Longing. It is difficult to speak about these moods or states of the mind without invoking stereotypes. In ancient medicine, melancholia was considered to be one of the four temperaments, matching the four humours. In fact, melancholia, meaning "black bile" in Ancient Greek, was thought to be caused by an excess of this very body substance. By contrast, in more modern interpretations, literates and Freudians relate many variations of longing to the one primordial longing, the desire to return to one's mother's womb. In this context, the womb is considered to be the place of absolute comfort and cosiness, of total bliss. Thus it should not be surprising that to many of us melancholia is a mood which we like to invoke and to maintain, we like to envelop ourselves in it like in a warm blanket. Our brain and our sensory systems appear to be made for perceiving and emotionally responding to music in a very immediate fashion. Consequently music is the obvious drug for all of us melancholia-addicts. However, there is a thin line between melancholia and sadness, and music which is meant to be melancholic too often crosses this line by far. Only very few artists succeed in avoiding this crossing, and in creating music which is melancholia in its most pure form. It is safe to say that BERSARIN QUARTETT - the electronic music project of Thomas Bücker - is one of them.

After his successfull selftitled debut in 2008 and the sophomore "II" in 2012 - album of the month in many magazines and in numerous "Best of the year" lists - Bücker returns with his third BERSARIN QUARTETT album "III", due for release 6.11.2015 on Denovali Records. Much like his two predecessors, III is a pure paradox. It is the creation of a perfectionist, an adamant control freak. Every element, be it a note, an ambience layer, a string arrangement, a field recording, a baseline, a vocal (Clara Hill on Track 11) or a beat, is meticulously modified and then assigned its place in Bücker's vast but still minimalistic arrangements. Thus, superficially Bücker's pieces seem to radiate a certain mechanical bleakness. However, there is a unique reduced warmth and liveliness emerging from these stainless compositions and transcending them. This transcendence is precisely the point where Bücker ironically looses control over his creations. In contrast to the first two BERSARIN QUARTETT albums, III offers a few darker shades and succeeds even further in narrowing down the arrangements to the absolute essentials without loosing the characteristic grandeur of Bücker's sound. Whereas BERSARIN QUARTETT's debut was merely a description of melancholia in its most pure form, III maybe even goes as far a defining what melancholia really is. It is the only emotion in the vast spectrum of human states of mind which one can bear forever. 

Bersarin Quartett - Sanft verblassen die Geschichten

>> https://soundcloud.com/cardiknox
>> http://www.haertsmusic.com/

Cardiknox - Doors (HAERTS Remix)

http://www.charlixcxmusic.com
http://www.bornsmusic.com/
http://pulserecordings.com/clients/tommy-english/

Need Ur Luv (BØRNS x Tommy English Remix)

Yab Yum & Tanina Munchkina - The Chicken & The Egg

Robin Hayward plays microtonal tuba in Catherine Christer Hennix's ensemble and Stop Time is his first composition to be released on Important Records. 

Stop Time was commissioned for a festival of the same name taking place in Leuven in 2013. It is the first piece to use a subset of the three-dimensional physical version of the Hayward Tuning Vine, invented in 2012, as a musical score. The harmonic space implied within the four cubes contained within the subset, based on prime numbers two (octave, colour-coded grey), three (perfect fifth, colour-coded blue) and five (major third, colour-coded red), is explored by the acoustic instruments and projected via the surround-sound system onto the physical space of the performance area. In tonight's performance, the colour-coding is made explicit through spotlighting each musician according to the colour of the pitch they are currently playing. In the middle of the piece, when the the central black ball is sounded, the lighting therefore momentarily disappears. The idea is not so much to simulate synesthesia as to explore possible interactions between sound, vision, space and time. Harmonic space is projected over time onto physical space, thus 'stopping time'.

The recording and photos are from a performance taking place at De Bijloke, Ghent, in September 2014. 

Robin Hayward  - Stop Time (excerpt) - imprec436 - April 29, 2016 (Hennix ensemble)

Lonely Cities EP Available Now
iTunes: www.smarturl.it/LonelyCities
Google Play: www.smarturl.it/LonelyCitiesGP
Amazon: www.smarturl.it/LonelyCitiesA
Spotify: www.smarturl.it/StreamLonelyCities

Follow Tigertown
Facebook: facebook.com/tigertownband
Twitter: twitter.com/tigertown
Instagram: instagram.com/tigertown/
YouTube: youtube.com/user/tigertownband

Tigertown - Lonely Cities (Wingtip Remix)

Eleh's influential Radiant Intervals I, originally released on CD/LP in 2010, is a meticulously nuanced, restrained exploration of the rhythmic and harmonic relationships inherent in pure analog frequencies using a blend of intuitive and mathematically based tunings. Dense patterns of sound slowly unravel and are woven together again in new ways while harmonics hover and shift overhead. Radiant Intervals is a purely analog recording, made with a Serge Modular system, Mini Moog, Sequential Circuits Prophet 5 and a Pro-One.

Radiant Intervals

ELEH Night Of Pure Energy from Radiant Intervals LP - Available Nov. 2016

Solas

The Molendinar

released on Dronarivm,  March 17th

release page : https://dronarivm.com/2017/03/03/lorenzo-masotto-aeolian-processes/

“By the moment my hands touch the piano and I begin to compose, my conscience starts a journey, leaving my body. During its wandering shows me pictures of the places it encounters, creating a sort of connection between my unconscious and my fingers. The colors, the landscapes, the faces of the people it photographs along the way are so clear in my mind to allow me to portray those images, using only the sound that a piano can paint.” 

- Lorenzo Masotto 

Lorenzo Masotto’s journey with music began at the age of nine when he started playing piano. Graduating from Conservatorio di Verona, he consequently started studying composition and jazz. Lorenzo also plays in a prog/post rock band called Le Maschere di Clara, directs a male voice choir, writes music for film and theatre, and teaches piano and composition. “I’ve never only thought about writing in just one music style,” he says, “I love all music, and everything I write increases my confidence and ability to write from a wider perspective.” He has published two albums, “Silk” in 2015 (Alfa music) and “Rule and Case” in the 2016 (Preserved Sound).
credits

Mastered by Porya Hatami

Buy CD

LORENZO MASOTTO - A Tree In The Snow

B5 Are We All Water

Preview of Pali Mersault's Stridulations LP, out in Discrepant 11th May 2018.

More info at www.discrepant.net

B - les apparitions ne font rien à part être [preview]

A - pour chaque solution il y a un problème [preview]

Carlos Giffoni
VAIN
iDEAL170 LP
Edition of 500 copies (200 coloured, 300 black)
Distributed by Boomkat

VAIN is the soundtrack to a film in Carlos’ head of the same name. Both the film and the LP are about a young woman with mysterious psychokinetic powers, lost in the deserts and beaches of California trying to find answers to her mysterious past. The music score follows Vain in a fantastic journey that changes her world forever. 

Despite having release over 50 solo recordings and collaborations released, Vain is only Carlos’ 4th official full length LP release, following Welcome Home (Important Records), Arrogance (No Fun Productions), and Adult Life (No Fun Productions.) It is also his first release of any kind in 6 years. Carlos took off from New York in 2012 and moved to LA to take a break from everything and everyone and work on some secret projects. He continued to play music sporadically with collaborators, and finally started recording this new album on his home studio in Malibu during Summer of 2017 inspired by heartbreak and deceit, where all great art comes from.  

The 9 tracks on this record were created with a variety of analog equipment, with no computer effects or instrument overdubs. The final material was selected from dozens of hours of recordings, with final mastering touches by Al Carlson, who Carlos previously worked with on in his Software/Mexican Summer ‘Evidence’ EP.

The cover is an original painting by american artist Wiley Wallace, commissioned for this release.

TRACK LISTING
A:
1- Vain's Face
2- The Desert
3- Erase the World
4- Hands
5- We Pay the Price
B:
6- Stop Breathing
7- Faith and Pain
8- I Can Change
9- Sun Rain 

CREDITS
All instruments by Carlos Giffoni
Recorded and produced by Carlos at Colorful Skulls Studios in Malibu, CA. 2017 / 2018.
Mastered by Al Carlson 
Cover painting by Wiley Wallace 
Graphic Design by Maya Miller

CARLOS GIFFONI - VAIN'S FACE ("VAIN" iDEAL170 LP preview)

OUT SOON ON VINYL ON AUDIOMER. Historical 1974 piano recordings by Charlemagne Palestine! Info: https://www.discogs.com/Charlemagne-Palestine-AA-SSCHMMETTRROOSSPPECCTIVVE/release/11769672

Charlemagne Palestine - AA SSCHMMETTRROOSSPPECCTIVVE (LP)

Yarn

Winter Stories

Rainy Days

CD|DL

Enno Voss - Neversay

Sunrise,Sunset ver re:plus band set

Solar Ohm

from the album ~~~
https://anaroxanne.bandcamp.com/album/-

Ana Roxanne is an intersex Southeast Asian musician based in Los Angeles. Born & raised in the Bay Area to immigrant parents, Ana's love for music and singing began through her mother's cd collection of 80's/90's R&B divas. Raised in the catholic church, she became a devout choir nerd and found any opportunity to sing, whether for religious mass, the jazz ensemble of her catholic high school, or karaoke at family gatherings. Her commitment to singing led her to a brief stint at a vocational jazz program in the cornfields of the midwest; in a remote town of 7,000 people, she began a formal study of jazz and classical music. During these years she would tour with her jazz and chamber ensembles to beautiful old cathedrals in nearby cities and became enamored with the sacredness of choral music, as well as the enveloping sound of harmony. 

A near death experience, too, served as a connection between music and spirituality, and music as a healing art after facing tragedy. 

In 2013, Ana was also fortunate enough to spend a few months in Uttarkhand, India where she met an incredible voice teacher who introduced her to classical Hindustani singing. Living and studying with this teacher deeply impacted her outlook on the voice as art. It was there that she began to see the singer - the Diva - as a symbol of divinity; that the unique power of one's voice comes from the vulnerability of using the body as an instrument. Be it romance, love, or worship of a deity - in order to access such depths of emotional expression, one must be willing to be intensely vulnerable, lay one's heart in the open air, expose what is kept hidden. This brief study was the catalyst that led her to finish her music study at the experimental Mills College in Oakland, CA, where she began to combine all of these influences into her current self-titled project. This album ~~~ was created during her last years residing in the Bay Area, a tribute to the great musicians who inspired her and the landscape where she spent her formative years. 

In addition to the worship of R&B and pop divas, Ana's current practice explores themes of gender & identity. In October of 2018, she decided to come out publicly as intersex, and is dedicated to being a voice for her community and speaking out about social justice for intersex youth.

Ana Roxanne - Nocturne

from 'Lost World' [CD|LP|DIGITAL]
Denovali Records · den320
available on all formats at http://denovali.com/md

This summer, Samuel van Dijk (also known as Mohlao and VC-118A) takes up his Multicast Dynamics alias for his fifth album on Denovali. Once again this storytelling artist sets out to remove you from reality and sink you deep into his Lost World. You arrive long after humans have left, but why? That is for you to find out.

Multicast Dynamics albums are always absorbing and journeying affairs that are as immersive as a film or evocative as an audio book. Since 2015, long players like Aquatic System, Outer Envelopes and Continental Ruins have explored forgotten utopias and unexplored oceanic abysses with a documentary maker’s attention to detail and narrative, and Lost World continues in this fine tradition.

This is a mysterious album that wants you to engage not only with the music, but with what it means. Where it takes you. What happened before it started and what will happen long after it ends. How did you get here? Where will you go? Listening to it is like tuning into a world that already exists, somewhere, like some distant sci-fi reality turned underwater ruin that has a million stories to tell if only you can find them. It’s an isolated world that is somehow alive with microbial life, crumbling architecture and radioactive energy that leaves you with a thousand questions as you descend ever deeper in search of some form of truth.

Track titles are subtle signposts along the way, while the music is like sonic poetry: expressive and beautiful, yet open to wide interpretation and always rather mysterious. It is music that fits perfectly with our visual world in the way the artist places sounds in specific places in the sonic field. You are the central character as the action moves, pans and unfolds around you in a 360 degree spatial field rather than on a linear plane. Lost World, then, is a voyage to a distant reality that awaits your own endless exploration.

Lost World

Multicast Dynamics - Oceana

Heatwave (Maria Minervas Dark Dub)

Sissel & Bass shall live forever and ever

Peder Mannerfelt - Sissel & Bass (Perc Remix)

Like many Canadians, Joseph Shabason and Ben Gunning like to untangle themselves from urbanity and disappear up north a few times a year. Unlike other cottage-goers, Ben and Joseph don’t while away the ur-time on jet-skis and lounge on docks reading pulpy mysteries. Instead, they bring a car full of synths, drum machines, saxophones, guitars, samplers, effects, and recording equipment to jam the days away in a cabin-fever inducing haze of wood smoke, cedar musk, hot wires and jazz sweat. 

Muldrew, recorded on the northern Ontario lake by that name, is the culmination of several years of this collaborative tradition. Resisting their penchant for composition and arrangement, the duo embarked on this project with only an open framework that encouraged restraint. The result is a sparse and improvisational album, hung on enough structure for each song to evoke a distinct, albeit ambiguous mood. Space is paramount and even the most digital elements breathe with the resonance of the room and mingle with creaking floors. The resulting album is steeped in the placid stillness and northern ambience of a lake at dawn, and the emotive expanse of a forest at dusk. Imagine an ECM cottage-series, or Jon Hassell, Hiroshi Yoshimura, and John Martyn scoring a Bela Tarr film set in rural Canada. This is the future-proof music of metropolitan polyglot minds invigorated by nature’s mute refusal to follow a click-track. 

DMM Pressing. Limited Edition of 500. 

Tracklist:
A1 Bois Blanc (4:17)
A2 Commanda (4:10)
A3 Lalla Rookh (5:43)
A4 Lowland (5:25)
B1 Crocodiles (8:06)
B2 Caraquette (5:51)
B3 The Slash (6:26)
B4 Lost Channel (4:39)

Release date July 5th 2019

For EU distribution contact: info@rushhour.nl
For NA distribution contact: info@seance-centre.com

Shabason / Gunning - Crocodiles (17SC)

NBOMe

TURBERA, FIRST EP BY @aggromance
Premiere by @resident-advisor

The South is more than just a landscape. It is a corporal mark permeating the sensible experience; a form of imagination staggering on the edge of forgetfulness; an ambivalent minoritarian-becoming coexisting between the uncontrolled immensity of profusion and the violence of systematic plundering. 

From the record label Hiedrah Club de Baile, AGGROMANCE’s first full-length album, Turbera, is a digital handicraft piece that displays the contradictory speeds of a brown life born under the sign of the Uncomfortable, that worn coat embracing the very end of the world; a singular sound reluctant to the idea of a reconciliation between origin and destiny; a cartography from a stained body aimed to disorient the moral expectations about that sunken cry articulating its own desire to survive. 

Between the continuum of a hardcore sound lubricated by the cosmopolitan rawness and the tremor of a language desperate to the “authoctonous legitimacy”, right at the middle of the acid dampness of a nameless garden, Turbera unleashes the promise for a party gloomed by resentment as a twisted form of hope. A low-tech danceable impulse stagging that distopian futurity which we still live in, allowing us to recognize our faces against the dirty mirrors of this swamp-world, where, despise all our fatigues, there is some music worthlessly running on the melting of the global order and it harbors the password of the living.

Produced by Diego Luna (AKA @aggromance) 
Mixed by Diego Luna (AKA @aggromance) 
Mastered by Jeremy Cox 

Artwork by Jusomor 
Text by Nicolás Cuello. Translated by Lucas Disalvo.

Turbera

Pre-order now

Lumbre Y Madera

05 Sulima - Planetary Signals.wav

Solomon Vromans improvising/performing a musical journey for the plants at Common Roots Urban Farm, Halifax, Nova Scotia. Part of Obey Convention VI.