beautiful spacious and varied sound, That sound is always evolving into something even more beautiful

Theres some dark beauty in this soundscape..

Love this track! What they exactly singing?

Rest

Buy Infinity Pools EP: http://smarturl.it/buyipools

Debuted on Stereogum here: http://bit.ly/1DAC8ZQ

What does the future of peace and quiet look like? Is it possible for someone to find serenity in a world where population mushrooms and buildings continuously jockey for the best possible view? With Kael Smith’s (Mombi, Khale) Mute Forest this dichotomy is at the epicenter of his 'Infinity Pools EP' due April 7th via Lost Tribe Sound. 

To coincide with visuals courtesy of Gregory Euclide (Bon Iver, Erased Tapes), Smith’s debut EP fuses acoustic sounds, mangled electronics and provocative lyrics across four meditative yet mesmerizing tracks. 

Serving as a companion piece to his expansive and sonorous LP, 'Deforestation', due later this year, Smith’s 'Infinity Pools EP' was actually written as a reaction to that material but will be released first.“ 'Deforestation' will in a sense be a prequel to the EP,” explains Smith. “And for listeners who follow along, should provide an interesting reverse narrative,” he concludes. 

“Crypt,” the EP’s opener, contains oscillating vinyl-sampled rhythms, chiming electric guitar and gently struck nylon guitar. Following that is the sparce and haunting “Volcanoes Flowing,” which traces a melancholy beat and slow, lovely piano crescendos to its heartbreaking conclusion. 

Darker in tone, title track "Infinity Pools" has a commanding presence using ominous electronics and damaged samples of Le Creuset pots being struck. Heavily processed and featuring vocals from Smith’s longtime girlfriend Kelly O’Brien, the track unfurls into a hypnotic groove over the chilling words “You’ll feel like an ember trilling/out in space.” 

Washing over the listener to conclude the EP, “Eat the Skin” originally started as an A Winged Victory for the Sullen remix of a song off of their recent LP, 'Atomos'. As the track progressed though, all of the layers performed by AWVFTS were eventually stripped leaving only acoustic guitar and Smith’s voice. “I like to pretend we wrote that song together, hopefully someday they will hear it” desires Smith. He uses the big, cavernous sound of acoustic guitar as base for unhurried, dulcet vocals and airy electronics. “I’ve always loved the big, acoustic sound of Seafood’s “Desert Stretched Before the Sun”“ explains Smith. “I really tried to emulate that deep resonate tone where the acoustic sounds like a tidal wave.”

All songs written, performed, recorded and mixed by Kael Smith (http://kaelsmithmusic.com) 
Kelly O'Brien backing vocals on "Infinity Pools."  
Mastering by Taylor Deupree at 12k Mastering 
Production assistance on "Crypt" & "Volcanoes Flowing" by Matthew Herron 

Original artwork by Gregory Euclide (http://gregoryeuclide.com) 
Copyright 2015 Lost Tribe Sound (http://losttribesound.com) 
Published by Settled Scores 2015 (ASCAP)

Buy EP

Mute Forest - Infinity Pools (from Infinity Pools EP)

05 Christina Vantzou - The Way Out Is Back

from 'Synecdoche' [CD|LP|DIGITAL]
Denovali Records · den240
available on all formats at [http://denovali.com/saffronkeira]

In the beginning the universe was full of light. Shining bright and incredibly energetic no solid matter could exist. As the universe expanded, the light became less energetic until the very first hydrogen atom could form. More followed forming molecules which in turn merged into gargantuan molecular clouds until they collapsed under their own weight, giving birth to the first stars, illuminating the universe once again. Being monstrous fusion factories, these stars burned hydrogen to complex chemical elements and eventually exploded leaving even more complex elements behind. After two such stellar cycles, there was enough material in the universe to form all solid matter that we know to exist today. Yet, everything began with the very first atom ...

Synecdoche - the whole consists of parts, and each and every part embodies the whole. This motif is at the heart of Saffronkeiras so named fourth album. Saffronkeira is a project established in 2008 by Eugenio Caria from the island of Sardinia, Italy. With Saffronkeira, Eugenio Caria lives out his passion of being a researcher of the possibility of expression offered by currently available technology. Indeed, in his tracks he experiments a lot with electronics and unconventional elements, which sometimes seem meaningless at first sight, but uncover their significance only on a closer examination. Combining subtle and sometimes even almost invisible rhythms with textures of sound he confidently moves between minimalistic pieces and classic ambient tracks which should please both the analytic ears and the listeners who just want to dive into the music.

Saffronkeira's previous album "Cause and Effect" constituted the first ever collaboration work of Caria and resulted from a close and unique joint work with trumpeter Mario Massa. Synecdoche picks up this collaboration idea, but this time features collaboration with various different artists, namely Mia Zabelka and Siavash Amini & Idlefon, as well as the Denovali artists Field Rotation, Sebastian Plano, Subheim and Witxes. Mixed and mastered by Alex Gámez at Störung Studio, Synecdoche brings Saffronkeira's distinct electronic sound to a next level which is further perfected by the individual and fascinatingly diverse collaborations.

Synecdoche

Saffronkeira - Epifonema (with Witxes)

Taken from 'At The Dam' LP by Mary Lattimore, out March 4, 2016.

Pre-order at The Ghostly Store: http://www.theghostlystore.com/collections/music/products/at-the-dam
Or at the retailer of your choice: https://Ghostly.lnk.to/mary-lattimore-atthedam

At The Dam

Mary Lattimore - Jimmy V

Not even a month after dropping his entrancing In Stereo session, ex-Emeralds member Steve Hauschildt returns with more ambient hypnosis. This time, it's a track off the soon-to-drop remix EP for composer and artist Christina Vantzou's no. 3 album. Steve's undertaking brings seven minutes of sheer serenity, slowly soaring and regressing throughout its duration. True magic from the pro himself.

3.5 is out on March 18th.

Pre-Order

Christina Vantzou "Stereoscope (Steve Hauschildt Remix)" - Boiler Room Debuts

Mirall

Rauelsson - Sierra

Premiering on the Ransom Note: https://bit.ly/2MyJojX

"An enchanting new album." - The Ransom Note 

Heinali is the alias of self-taught composer and sound-designer Oleg Shpudeiko from Ukraine. Now well established under the name he brings along his latest full length ‘Iridescent’ due for release on October 12th on Injazero Records. 

Having garnered rapturous responses to his earlier output and last year’s ‘Anthem’ Oleg continues to push the boundaries and experiment with altering mood and atmospheres of any space - with abstract yet deeply personal transmissions of ambient synthesiser work and subaqueous, minimal techno contortions. 

‘Iridescent’ consists of fragments of studio improvisation sessions recorded in 2016 and 2017, some of them recorded in one unedited take on a modular system and some layered and later morphed into compositions. As the title suggests Heinali crafts shimmering, incandescent portraits, rich in his unique characteristics and compositional liberty. 

Apart from the “musical sculptures,” that represent the bulk of this LP, Oleg was interested in the exploration of polyphonic capabilities of the modular system. ‘Rainbow Folding’, a loose homage to Terry Riley’s 'A Rainbow In Curved Air,' features an interplay of several independent, but distinct voices and their processed shadows — ‘ghost voices’. In 'Shadow Invention’ eerie atmospherics steal the spotlight and dominate the composition, ending in a cacophony of the ‘ghost voices’. 

Oleg says of the album, “it’s a kind of studio dairy. A reflection on the development of my relations with the hardware instruments and exploration of them as channelling vessels for my experiences and ideas.” 

“One can think of Iridescent’ as ‘musical sculpture’ analogy — when the body of music stays the same, but its surface is flickering with various colours over time — sometimes in a subtle manner, sometimes loud and clear. Or it can be understood in the context of various colours of polyphony, or as a liminal condition of the colour as if it’s being ‘stuck’ in the mist of twilight zone between neighbouring colour-states, so it can’t become a particular colour and is in a flickering kaleidoscopic state.” 

‘Iridescent’ bares Oleg’s style of sonic storytelling and austere, otherworldly textural embellishments that bring to mind Ben Frost, Akira Yamaoka, and Oneohtrix Point Never but also plants the seed for much more club ready electro. ‘Starling Reprise I’ is a scorching piece of ambient techno that conjures Four Tet, LTO and Susumu Yokota’s blissful, kaleidoscopic synth work whilst ‘Starling Reprise II’ retains the frosty, steely ambience that has become Heinali’s calling card. 

Cover artwork by Olga Gaidash.
Mastered by Taylor Deupree at 12k Mastering.

Pre-order

Heinali - Rainbow Folding

DR-54 : kj - ex (CD, ltd. 150)  / DL
Release page : https://dronarivm.com/2018/09/07/kj-ex/

ex, kj’s third album and dronarivm’s 54th release, is a wandering into the dark side of nostalgia — labyrinthian refrains evoke the mind’s tendency to reach for the past. 

for chris

mastered by rafael anton irisarri
cover photo by emiliano marinucci

buy CD / DL

kj - caro (taken from 'ex')

Track from the never-released Die Nachtstunde album 'You collect me' (2016).

Die Nachtstunde - (you collect me)

With Bird Ambience coming out on May 28, Masayoshi Fujita makes a lateral leap from his signature instrument the vibraphone to the marimba, which takes centre stage on his new album alongside drums, percussion, synths, effects and tape recorder. The balletic arabesques of his third single ‘Morocco’ show both instruments unite and dance from twinkling filigree, to a cascading crescendo.

“The way of playing the marimba is similar to the vibraphone, so it was kind of a natural development for me and easier to start with, yet it sounds very different”, explains Masayoshi. “The marimba bars are made with wood and it has a wider range than the vibraphone, which gives me a bigger sound palette with more possibilities. I play the instrument with bows and mallets, and sometimes manipulate it with effects.”

Bird Ambience brings several fresh changes for the artist. Until now, Fujita would separate his acoustic solo recordings, the electronic dub made under his El Fog alias, and his experimental improvisations with contemporaries such as Jan Jelinek. The new album sees him unite all these different facets for the first time into one singular vision.

Arranged with a perfect Kanso-like balance, the unhurried pace of Bird Ambience allows each sound and phrase enough time to be mindfully absorbed and savoured. This subtle but affective work carries ethereal remnants of Midori Takada’s minimalism, the static atmospheres of Mika Vainio, To Rococo Rot’s organics and the bucolic electronics of Minotaur Shock. Fujita vaporises contemporary and classical, ambient and dismantled dub, controlled noise and fragments of jazz into an atmospheric, static mist, which he skilfully coerces into new forms.

Bird Ambience will be released on Erased Tapes in 2LP, CD and digital formats on May 28.

Saffronkeira - Epifonema (with Witxes)

Denovali

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