love the length, sick of 4-5 minute tracks

Electronic

FREE EDIT TRACK FOR YOU.
Shouts to Willow.
Taste of my next EP for HW&W entitled "SONGS TO BREAK UP TO".
Out in a few months.

Art by samueljohnsondesign.com
Photo by @KHIERA_NICOLE 

Ta-ku on Facebook.

I Miss You

Download this beat in the Makaih Club at https://makaihbeats.net
IG: https://instagram.com/makaihbeats
Email: makaih@makaihbeats.net

Download

FastCar pt.3 (Rap Beats)

Views (Instrumental)

www.fsgreen.net
www.instagram.com/fsgreen
www.facebook.com/iamfsgreen

Warrior Ft. Skinto

Title track from Leafcutter John's new album, Resurrection(Pathway009)

A panoramic sound world of drifting vocals over a densely-processed terrain of mud-caked percussion and guitar, Leafcutter John’s new solo album, Resurrection, is a characteristically unique blend of the electronic and the acoustic, the hi-tech, the human and the homemade.
Resurrection is the sixth Leafcutter John album and his first solo release since 2006’s The Forest and The Sea CD/LP(Staubgold). In the intervening nine years, John has toured from Vietnam to Venice, appeared live with Beck Hansen and Imogen Heap, and provided the score for Crow, a major theatre project by Handspring (creators of War Horse). 

During this time, John has also maintained his permanent role as the unpredictable, electronic antagonist in Polar Bear, the twice Mercury Music Prize-nominated, genre-defying jazz band.
This new record marks fifteen years of releases by Leafcutter John. Born John Burton in Wakefield (Yorkshire, England), his highly original musical voice was first spotted by Mike Paradinas, label boss of Planet Mu Records. Over the course of his first three albums (2000-2003), John established and developed his idiosyncratic London-based studio, and his skills as an inventor of unusual instruments and extraordinary music software.
Resurrection begins with the sound of a single bell, in homage to one of John’s major influences, Bernard Parmigiani’s De Natura Sonorum (1976). From there, the album unfolds over five cinematically varied tracks, “like floating above a world in constant flux,” in John’s own words. In fact, aerial photographs of the Japanese tsunami of 2011 were a direct inspiration for the record.
“I would create complete, fully-formed compositions,” says John, “then later, I’d come back to them, playing the part of
the destroyer, scraping and smearing away elements, weathering, piling up and re-ordering them, as if they’d been hit by a natural disaster.”
Not content with the usual tools available to the electronic musician, John has created innovative new systems and techniques for both live performance and production. This includes a light-controlled instrument that allows him manipulate his live sound through gesture, flickering candles, flashing torches and pyrotechnics. For the track “Gulps,” John coded special software to layer huge swathes of sound. Using a recursive system, he created 7.1 billion layers of a recording of the North Sea, one for each human alive on the planet at the time of writing.
Featuring a guest appearance by Shabaka Hutchings (Sons of Kemet), “Gulps” is a poignant demonstration of John’s
approach: Hutchings’ intimate clarinet is gradually engulfed by a (literal) ocean of sound. This is sculptural sound design
where technological innovation is always at the service of the emotional impact of the music: deeply human at its root, and
mind-expanding in its ambition.

Desire Path Recordings
www.desirepathrecordings.com | leafcutterjohn.com

Credits
Written and produced by Leafcutter John, with Varpu
Kronholm playing additional percussion on “I Know You
Can” and Shabaka Hutchings playing Clarinet on “Gulps.”
“Endless Wave” contains elements of “Forest Of Spades” by
Strings Of Consciousness, used with permission.
Mastered by James Plotkin
Photography by Max Baillie
Design by Chris Koelle, Leafcutter John, and Varpu Kronholm

Distributed by Revolver

Leafcutter John - Resurrection

Hauschka & Hildur Guðnadóttir - #294

A studio collab with The Grubby Raven and his electrical guitar

Droney Mitchell 0004

Triangulum

Music from the forthcoming EP by Luke Abbott and Jack Wyllie of Portico. 

Released via Buffalo Temple (BFFT003) on 25th September available on 12" vinyl and digitally.

Xantako

from the album 'monument builders' available 11/11

Monument Builders

loscil 'monument builders'

Over several years, Guenter Schlienz has graced labels such as Constellation Tatsu, Sacred Phrases, S.I.N.K. CDs, SicSic, Preservation so we are very excited here at Rural Colours to be added to that list with his latest work Peace.

After noticing that several friends had begun to end emails marked 'Peace', Guenter Schlienz, ever full of questions, started to ponder on the meaning of the word in this context.  Around the same time he started to read Henry Miller's book 'The Collossus of Maroussi' and was intrigued by a couple of paragraphs devoted to exactly this question: what is "the meaning of peace". He came to the conclusion that there is much more to "peace" than just the absence of war.  The albums track titles are words by Henry Miller, and the work is Guenter's humble attempt to gather sounds and atmospheres around those lines.

Using modular synths combined with tape loops, analog and digital delays, vintage electronic organ and guitar, Schlienz works within a romantically inward looking framework, creating music that comes from deep within.  His compositions reflect themes of tenderness, alienation and homecoming and feature a range of guest musicians including Masako Kamikawa (piano on  'Reverberation of the Pandemonium') and Niko Lazarakopoulos (guitar on 'Faint Whispers') and even an anonymous busker from the streets of Stuttgart on 'Who Put the Demons There?'

inspired by henry miller's book "the collossus of maroussi". / "i never knew the meaning of peace until i arrived at epidaurus ".

Artwork by Katie English / This is rural colours 82
https://ruralcolours.bandcamp.com / vote for us

Guenter Schlienz / Peace (Snippets)

Map 165 is a collaboration between Martin A Smith and Tim Hooper exploring disorganised sound, atonality, beauty and evocation. Following on from 2014’s The Fatigue of Sunlight and Wine (Voxxov) and their collection of live recordings A Foreign Country, we are pleased to announce the release of their latest album Of Adam Sleeping in the Lap of God. 

An ambient work in four movements inspired by the north portico of Chartres cathedral Of Adam Sleeping in the Lap of God melts stone into music using a series of field recordings, synths and guitars. 

Of Heaven and earth: 
The formless becomes formed. A swirling coalescence of themes and sounds. Through repetition a pattern appears. Order is created. Across a slow shimmering, four notes call out bridging the void. 

The deepest midnight blue 
The sound from the lowest point of the lake 
The silence of the space above the Earth 
The beat of the heart 

Of the firmament: 
A blissful disorientation. Shimmering, confusing, a wrapping inwards of time and rhythm with multiple refraction of the same themes overlaid but still apparent. 

It is the clangour of bells reflected off stone walls in an old town 
It is the beat of wings over a lake 
It is the confusion of walking in to a dark interior out of the brilliant sunshine 
It is the clamour of foreign languages in the market place 

Of the Sun and the Moon: 
Reflective and contemplative, with a receding sadness. Watching the last sun of Summer set knowing that Winter will be coming. 

Wind between the fingers of trees 
Dust settling in corners until Spring 
Hands resting upon the table 
Valleys filled with fine rain 

Of Eden: 
Neither afraid of night or morning. Each day welcomed; each day passing as easily as water in a river. The security of knowing what you like and trusting your judgement. Equal with all, afraid of none. Night comes blissfully again. 

The comfort of time passing 
The first moment of sleep 
Closing the door once home 
A friend’s voice 

Written and recorded by Martin A. Smith and Tim Hooper 
Assembled and Produced by Martin A. Smith 
Choir at Chartres Cathedral recorded by Helen Smith 
Recorded at Flying Boat Studio, Cambridge, UK 
Sleeve artwork by Katie English 
This is Rural Colours 84

Map165 / Of Adam sleeping in the lap of God (Snippets)

"Who Knows, Who Knew" is taken from the album Lies, Deception and Sin by Niskogradba.

Release date: 18.10.2018
Format: CD/Digital

All tracks sampled, looped and produced by Niskogradba 
between November 2017-March 2018 
Mastered by Roel Weerdenburg

Limited edition of 40, Professionally manufactured high quality CDr's, Handmade packages, hand numbered.
Different colored wallets with envelopes: Brown Kraft, Blue and Red.
Bigger and smaller sleeves, smallest size in transparant bag.
Photo's.

Order: https://shimmeringmoodsrecords.bandcamp.com/album/lies-deception-and-sin

Niskogradba - Who Knows, Who Knew (Taken from Lies, Deception and Sin - Out Now)

~ IIKKI 009 ~

music : The Humble Bee & Offthesky
photography : Nieves Mingueza
album/book : All Other Voices Gone, Only Yours Remains
duration : 42.18 mn
date : July 2019

----------------------------------------------------------------

Jason Corder: vibes, arrangement, mixing, mastering
Craig Tattersall : piano, guitar, vibes, synths, tape loops
Cody Yantis : sax
Julie Slater : viola
Rin Howell : voice
Jiah Shin : cello
Esther Hernandez : flute

Mastered by Jason Corder
Artwork by Nieves Mingueza
Design by Sprflxgrfzm

----------------------------------------------------------------

edition : 
vinyl : limited to 300 copies hand numbered 
cd : limited to 200 cd (glass mastered) hand numbered
book : limited to 300 copies hand numbered + hand stamped

----------------------------------------------------------------

pre-order : June 17th, 2019 / official release : July 15th, 2019

----------------------------------------------------------------

Links :
https://www.offthesky.com/
https://www.leavings.co.uk/
http://www.nievesmingueza.com/
https://www.iikki-books.com/

----------------------------------------------------------------

℗ & © 2 0 1 9 - I I K K I - I I K K I 0 0 9

The Humble Bee & Offthesky - For Her Breath Is On All That Hath Life

from 'Cycle and Reveal' [CD|LP|DIGITAL]
Denovali Records · den319
available on all formats at http://denovali.com/mariodiazdeleon

Denovali is pleased to present Cycle and Reveal, the fourth full length LP of contemporary classical works by acclaimed composer Mario Diaz de Leon. Featuring bold performances by a cast of longtime collaborators, this compilation is an essential chapter in his celebrated series of recordings for acoustic instruments and electronics.
 
The output of Mario Diaz de Leon defies easy categorization, spanning the worlds of contemporary classical composition, experimental electronic music, extreme metal, and creative improvised music. Working extensively with an inner circle of close collaborators (ICE, Talea, and TAK Ensemble, among others) his classical works have been celebrated over the last decade for their “hallucinatory intensity” (New York Times), “snarling exuberance” (Pitchfork), “helter-skelter, electronically enhanced cadenzas” (New Yorker Magazine), and coupling of “crystalline clarity with the disorienting turbulence of a sonic vortex” (Wire Magazine). 
 
The A-side features two works written in early 2017, which colorfully embrace hypnotic repetition alongside dynamic contrasts and distinctly embody the electrifying post-minimalism that Diaz de Leon is known for. Opener Sacrament is written for a trio of musicians from Talea Ensemble and features the composer’s shimmering, bass heavy electronic production. This energetic piece, driven by the virtuosity of marimba player and Talea executive director Alex Lipowski, makes use of rapid-fire arpeggiations and heavy rhythmic unisons. These are starkly contrasted with moments of reverberant echo, bursts of noise in the flute and electronics, and ecstatic rhythms. Labrys, written for ICE bassoonist Rebekah Heller, builds on the celebrated legacy of solo + electronic works heard on his 2015 album The Soul is the Arena. Built around virtuosic interplay between bassoon and synthesizer, Labrys features shifting and hypnotic repetition alongside expansive melodies and sub-bass frequencies.
 
The B-side consists of two works composed in July of 2016 which draw from primal, incantatory, and improvisatory sonic landscapes. Irradiance, a collaboration with cellist Mariel Roberts, begins with a series of spacious riffs exploring the extremes of the cello’s register and transforms over time into a climactic frenzy of noise loops. Tuning the cello’s low C down to a growling G, Roberts interpreted the sounds of each pre-recorded loop by ear.  The piece gradually builds from cavernous depths into an ecstatic climax of anarchic noise. Concluding track Mysterium is written for the ICE trio of flutist and ensemble founder Claire Chase, clarinetist and artistic director emeritus Joshua Rubin, and bassoonist and current artistic director Rebekah Heller. Archaic melodies, improvised heterophony, spectral transformations, echoes of Klang-era Stockhausen, and the colorful noise of Moog and Ciat-Lonbarde synthesizers combine to create an expansive and wildly ritualistic atmosphere.
 
Cycle and Reveal was recorded in vivid detail by Marc Urselli (John Zorn, Laurie Anderson) at East Side Sound, Stephen McLaughlin at EMPAC, and mastered by Ryan Streber at Oktaven Audio. Diaz de Leon invited Melbourne-based visual artist Yuria Okamura to design the cover image and inner sleeve symbols. Sharing Diaz de Leon’s interest in the reinterpretation of spiritual art, Okamura’s cover “maps and reconfigures geometric patterns and symbols that reference esoteric symbolism, occult diagrams, religious architecture and decoration.”

Cycle and Reveal

Mario Diaz de Leon & Talea Ensemble - Sacrament

Polish Edits #8 by Ptaki
Mix & Master by Kwazar (Gagarin Studio)

Leafcutter John - Resurrection

desire path recordings

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