Track taken from the upcoming album 'Four Steps on Points' by Matteo Uggeri.

More info soon through the mailing list:

http://www.fluidaudio.co.uk/about/mailing-list/

* Audio by Matteo Uggeri
* Mastered by Ian Hawgood
* Design by Daniel Crossley



Matteo Uggeri - Walk Through The Fields

Remix by <a href="https://soundcloud.com/olafwie" rel="nofollow" target="_blank">Olaf</a> taken from our debut release 'In Passing EP', available now via Bandcamp and iTunes.

http://stevegibbs.bandcamp.com/album/in-passing-ep
https://itunes.apple.com/gb/album/in-passing-ep/id669727687

Buy This EP

Steve Gibbs & Cyrus Reynolds - After (Olaf Ambient Rework) FREE DOWNLOAD

Diamonds 1 is the sixth album made by Diamorpha. 

This album is highly-production based. This album is somewhat experimental. 
 
More about this album: 

https://docs.google.com/document/d/1RMkj56W-c_zsxDbJ5jLxwjX9c7Q2TVn2uVD6r3TvEPU/edit?usp=sharing 

Please do not distribute these tracks without my own permission. These are independently produced entirely by me and all copyright belongs to Henry Guy. 

Aquatic Desert

JAKEN - Accident Site

discoveries

Taken from moogmemory (2016)
matthewbourne.bandcamp.com/album/moogmemory

Friday 4 March - BRISTOL Colston Hall
Saturday 5 March - LONDON BFI
Sunday 6 March - SALFORD, Islington Mill
Thursday 17 March - BRIGHTON Komedia
Friday 18 March - SOUTHAMPTON Turner Sims 
Saturday 23 April - GLASGOW Outskirts Festival. Platform

Horn & Vellum

Emilie Levienaise-Farrouch is an award-winning French pianist/ composer currently living in London. Spanning film score, bespoke composition and sound design, her work is connected by both its high quality and evocative, meticulous craft - a common sensibility of elegant, instinctual composition. Signed by FatCat’s post-classical imprint 130701 following receipt of a stunning demo in 2014, Levienaise-Farrouch’s first album, ‘Like Water Through the Sand’ was released in November 2015.

A collection of new compositions written primarily for piano, string quartet and electronics, ‘Like Water Through the Sand’ is equal parts graceful as it is dark; powerful as it is subtle. A wide-ranging yet cohesive collection, there’s an immediately evident sense of class in the quality of the instrumental playing and the beautifully nuanced sound design, marshalled masterfully throughout by its creator. 

Born in Paris, Emilie grew up in Bordeaux, studying classical piano throughout her childhood. Recognising a strong early interest in “making up music rather than just fixating over perfectly playing other people's,” her first experiments in recording began as a teen. Convinced of her vocation, in 2006 Emilie moved to London to embark first on a BA course in music at Westminster University, then a Masters degree in composition at Goldsmiths, studying new complexity and spectral composition. Alongside these studies, Emilie worked for three years at online electronic store Bleep, gaining enlightening exposure to a vast range of weird and wonderful new music. New influences like Alva Noto + Ryuichi Sakamoto, Richard Skelton, Andy Stott, and LFO were added to existing ones in Bach, Sufjan Stevens, soundtracks by Clint Mansell and Carter Burwell.

A gorgeously detailed and hugely impressive debut, ‘Like Water Through The Sand’ manages to sound at once fresh and familiar. It nestles comfortably within the contemporary cannon of post-classical producers/ composers which 130701 played a formative part in helping establish (the adventurous modern landscape of Max Richter, Johann Johansson, Dustin O’Halloran, Hauschka, Nils Frahm, et al), and reveals a brilliant new voice to add to the firmament. 

Emilie Levienaise-Farrouch - Minnesang

Taken from the upcoming album 'The Epiphanies' by Bill Seaman...

The Epiphanies...

Composing memory
The backs of my hands
Headlights slowly turning, illuminating the branches
Skin (slow)
The folds of eros
Slow motion in darkness
Quietly touching
Slow moving fog
A quiescence of obsolescence
Dark wet trees and angled lines of light
The collapse of time
Hidden memories and breathing
Luminous silent stasis
An epiphany of epiphanies

..........

Seaman – Piano, non-location recordings, ebow guitar, DX7IIE, mellotron, samples, sample arrangements and Ableton Live abstractions. Production.
Owen Sidney Richardson — Contrabass and Electric Bass guitar library 
Craig Tattersall  — Synth Bass library  
Robert Ellis Geiger  — Trumpet, Cornet, Flugelhorn library  
Jonas Braasch  — Horn library 
Ciompy Quartet – Violin library 
Daniel Howe – Distant Guitar on 14
Design by Daniel Crossley
Photography by Nieves Mingueza
Mastered by James Plotkin

..........

I often work by making libraries of particular kinds of sounds or asking people to contribute a library. With the contributed library I often give the players simple verbal instructions, or sing notes I am interested in including. With the piano, I sit down and do a series of improvisations. I then go though these and edit my favorite parts, building a series of fragment libraries, some with little or no abstraction, some greatly abstracted with Ableton Live. I compose in a very sculptural manner with Ableton, dragging things in from the libraries and trying things out often exploring chance related juxtapositions. I often shift the time and transpose individual samples to make them work with the other material. I build up structures, cut/copy/paste complex layered sections, erase sections that are not working, loop things, and slowly construct a track going though many iterations. I often later cut away at the built up tracks, and edit the piece down, further articulating a structure. I often finish with having between 20 and 50 tracks. In the final set of passes I fully articulate the psychoacoustic space, working with panning, eq, distortion, delay, abstraction, and reverb. I further edit and structure the parts that begin to “work”. Along with the piano I make Libraries of DX7IIE sounds, electronic beats, mellotron, electronic micro-rhythms, non-location recordings from noises found on the internet, orchestral abstractions, midi instrument libraries— violin, cello, woodwinds, and I also employ highly abstracted piano. Additionally I build libraries of ‘abstract’ guitars, playing alternate instruments through synthetic and or real amps. This overall method allows me to work very quickly and intuitively. In this case, the music is more sparse than many of my other recordings.

The Epiphanies started with some long titles like An Epiphany Related to the Back of the Hand. I later came to the notion of just titling the album The Epiphanies, and making the titles shorter. When I searched the title I was excited to see that James Joyce had done a series of short poems with the same overarching name. - Seaman 2017

..........

- Special Thanks – Craig Tattersall, John Supko, Daniel Crossley and Fluid Audio

- This album is dedicated to the memories of Rick Tear, Ranulph and Aartje Glanville, Otto Piene and David Bowie.

..........

www.fluidaudio.bigcartel.com
www.billseaman.com
www.nievesmingueza.com

The Epiphanies

Bill Seaman - An Epiphany Of Epiphanies

from 'MYTH II - A Need to Survive' [CD|LP|DIGITAL]
Denovali Records · den306
available on all formats at http://denovali.com/theeyeoftime

The Eye of Time is the solo-project of French musician, Marc Euvrie. His new album ‘Myth II : A Need To Survive’, released 3rd August on Denovali Records, is the second part of a trilogy of releases about the path that humanity takes over the ages. A multi-layered tapestry of experimental sound, ‘Myth II : A Need To Survive’ merges darkness and hope via minimalist beats and stark bass.

Myth is a word with ambiguous meanings in the dictionary, but all these lead to the same conclusion. We could decide to see things on the bright side, or to a have a more dramatical (in the literal sense) look on it. Like if one species is looking at another, and in a different era. Myth is a feedback to the tragical events of our time, to what people have to endure nowadays in order to survive, as well as the refugees travels, and the resistance against capitalism that is growing all over the world. Myth is also a particular way to see things, to take sides with history. When we talk about ancient political activists and revolutionaries, resistances to the established order, we make the choice to transform it into a myth, a history full of heroes. But the past is the present. And our present will be the past again. It is on us to take action in order to avoid our inevitable end.

On ‘Myth II : A Need To Survive’, Marc adds, “The period between the release of the first two records of this trilogy is a most significant one in my life. ‘A Need To Survive’ is the perfect title to name it. I have fought darkness. I have faced myself. I've been into the deepest introspection ever, but I'm on my way to recover, and I will never be the same again. I guess I have faced the worst but most important period that everybody will face in his life. To know yourself better, to see the bad and the good things you're capable of.”

He goes on to say, “I feel that the album trilogy I started in 2016 will match my path to become a better person in balance. ‘Myth I : A Last Dance For The Things We Love’ corresponds to my falling into darkness, ‘A Need To Survive’ to finding the energy to rise again and the last record which will be named ‘To Heal’, corresponds to me right now, feeling positively mature.”

Euvrie's musical development is deeply connected with the French DIY punk and hardcore scene, although he has been classically trained. He started to play piano at 9 years old, composed his first pieces at 15 and studied cello at a Conservatoire after finishing school. Euvrie played in several bands before, being influenced by Claude Debussy, Philip Glass, Frederic Chopin, J.S. Bach, Michael Nyman just as Godspeed You Black Emperor, A Silver Mt. Zion and Portishead, he began to translate his personal reflection of our complex world into music, which initiated The Eye of Time.

His extensive self-titled debut album was released in spring 2012 and exposed a dark look on the present, past and future. His last albums were promising a glimpse of hope (‘Acoustic’) or pitch-black despair (‘Anti’). ‘Myth I : A Last Dance For The Things We Love’, released in 2016, dealt with introspection, impregnated with minimalistic moments, where piano and cello write the story of loneliness and calm, accompanied by both grim and hopeful melodies.

The cover artworks of the ‘Myth’ album trilogy display pictures by Emin Özmen, a winner of the world press photo award. His work is focused on the situation in Kurdistan, Syria, Turkey and the "refugees". His work has been published by Time magazine, The New York Times, BBC, Guardian, among others.

MYTH II : A Need To Survive

The Eye of Time - A Need To Survive

Carried

Sparks

Cenes - Sparks

ORDER CD HERE -> www.gizehstore.com
A limited edition of 175 copies as part of Gizeh's 'Dark Peak' series. Housed in a black, gatefold, recycled card sleeve. Each copy is printed and assembled by hand at Gizeh HQ. Download code included. Release 25.10.19
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PRESS:
• FIP "Le mythique Nanook of the north sublimé par Christine Ott & Torsten Böttcher" • NEW YORK MUSIC DAILY "Fans of both Philip Glass and Terry Riley ought to enjoy it." • ICI MUSIQUE, RADIO CANADA "A la fois sobre et éblouissant" • MAGIC RPM "une musique au naturel à la hauteur de ce film des grands espaces. (...) un album magnifique" • TSUGI "Les morceaux collent parfaitement à l’atmosphère du film" • INDIE ROCK MAG "Entre néoclassique et jazz, le spectre est large et le duo en explore une part conséquente des contours. Sombres ou sautillantes, jamais plombantes, les compositions telluriques nous ramènent à des éléments primaires qu’il serait finalement assez urgent de considérer comme actuels. En effet, comment peut-on se projeter sur une planète dont nous refusons de comprendre les besoins ? Le pouvoir de la musique est fort lorsque de tels questionnements s’ajoutent à la beauté intrinsèque des compositions. Christine Ott et Torsten Böttcher accomplissent donc une œuvre à la fois maligne et pleine de justesse." + INTERVIEW AVEC CHRISTINE OTT, "Par les temps qui courent" Marie Richeux, FRANCE CULTURE : "Les images vous font aller dans les recoins de votre univers sonore" www.franceculture.fr/emissions/par-les-temps-qui-courent/christine-ott

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SUBSCRIBE to Christine Ott's newsletter -> eepurl.com/cju5Ej

The Eye of Time - A Need To Survive

Denovali

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