Winter Garden

Don't Go Where I Can't Find You

"Infinite Stillness", the first single from the new Orcas album "Yearling", out 4th of April in Europe / ROW and 15th of April in the USA on Morr Music.

http://weareorcas.tumblr.com
https://www.facebook.com/weareorcas
https://soundcloud.com/weareorcas
http://www.morrmusic.com/

Buy on itunes

Orcas: Infinite Stillness

Track taken from the Codes In The Clouds remix album 'Paper Canyon Recycled'
ORDER IT HERE*: http://erasedtapes.com/store/index/ERATP024


CODES IN THE CLOUDS vs. RIVAL CONSOLES – EU TOUR 2011

After they blew the roof off at this year's Erased Tapes special at Haldern Pop Festival, label mates Codes In The Clouds and Rival Consoles will challenge each other to a post rock vs. electronic duel.

To celebrate this exciting announcement here you find a good teaser of what to expect:
http://soundcloud.com/erasedtapes/codes-in-the-clouds-vs-rival-consoles

Hope to see you on the road...


Erased Tapes, Burning Eagle, Motor.de, Byte FM, Tonspion, Opak and WhiteTapes present
CODES IN THE CLOUDS vs. RIVAL CONSOLES

24.09. Portsmouth (UK) - Edge Of The Wedge*
25.09. London (UK) - Vibe Bar*
26.09. Brighton (UK) - The Hope*
10.10. Nijmegen (NL) - Merleyn
11.10. Gent (BE) - Charlatan Club
12.10. Hamburg (DE) - Prinzenbar
13.10. Copenhagen (DK) - PH Caféen
14.10. Berlin (DE) - Comet
16.10. Warsaw (PL) - Progresja Club
17.10. Lodz (PL) - Luka Club
18.10. Poznan (PL) - Fabrika Club
19.10. Nürnberg (DE) - MUZ
21.10. Innsbruck (AT) - PMK
22.10. Offenbach (DE) - Hafen 2

* UK warm-up shows without Rival Consoles

http://facebook.com/codesintheclouds
http://facebook.com/rivalconsoles
http://erasedtapes.com/kidvelo

*Every remix sold will help Friends of the Earth’s vital campaigning work for a safe climate and a healthy planet.

Paper Canyon Recycled

Codes In The Clouds – You Are Not What You Think You Are (Rival Consoles RMX)

Taken from "Marking A Boundary With The Turning Point"

Pre orders start 31.5.2024 / Release date: 7.6.2024 

All tracks played, recorded, mixed, edited and mastered by Ard Janssen & Radboud Mens 

Artwork by Aldje van Meer and Radboud Mens / Design by Ard Janssen 

https://shimmeringmoodsrecords.bandcamp.com

SHM 302
Shimmering Moods Records

This album explores the interplay between horizontal and vertical musical elements, where subtle acoustic events challenge perceived stillness. In the realm of drone music, these nuanced occurrences shape its immersive nature, injecting unpredictability into sustained tones. They blur the distinction between stasis and movement, fostering diverse listening experiences. Ultimately, these tiny acoustic events enrich the sonic landscape, challenging conventional musical narratives.
 
Creating electronic music blends sound design and composition. For this album, we've incorporated sounds from our experimental installations, emphasizing exploration over virtuosity. This process of crafting instruments and sounds enriches our music, capturing the essence of sonic exploration.

Ard Bit & Radboud Mens - Projection

A hazy, violet-washed morning on the coast. This track drifts like film grain across the sea — ambient, dreamlike, and timeless.

Violet on the mornings cheek (rough)

Compilation album ft Szintra, Paul Landry, Elenniyah, Skyful of Dreams, Celreurus and Celadon

The Burning Heart

https://www.facebook.com/highlucia/
https://twitter.com/highlucia

Chromatics - Yes (High Lucia Edit)
Crystallise 
Leave There 
Cord 
Dull 
Beacon

Dull_Garden

Tranquil ambient taken from @music-for-dreams next collector series which looks to the sounds of Japan.

Read More & Buy: http://www.stampthewax.com/2020/04/17/premiere-takashi-kokubo-quiet-inlet/
Listen on Youtube: https://bit.ly/TakashiKokubo

Oto No Wa (Selected Sounds of Japan 1988 - 2018) (Ken Hidaka, Max Essa, Dr. Rob)

Listen on Youtube

Takashi Kokubo - Quiet Inlet (STW Premiere)

"Moonflowers" is an exploration of repetition and organic sounds. Fragments of delicate melody and harmony are decayed and obscured over time. Emotions frozen in the present. Flower and expand in the silhouette of the full moon.

https://dronarivm.lnk.to/Moonflowers

Buy CS / DL

10 Lapis (Snufmumriko Remix)

from 'Where We Were' [CD|2xLP|DIGITAL]
available from May 2013 on all formats at [http://denovali.com/greghaines]

ON TOUR

21.04.2013 London (uk) - Denovali Swingfest

08.05.13 Eindhoven (nl) - Muziekgebouw
10.05.13 Groningen (nl) - De Oosterpoort
11.05.13 Amsterdam (nl) - Paradiso
12.05.13 Trier (ger) - Synagoge Schweich
13.05.13 Paris (fr) - Café de la Danse

17.05.13 Münster (ger) - Black Box
18.05.13 Utrecht (nl) - Le Guess Who Festival May Day
19.05.13 Essen (ger) - Welterbe Zollverein
20.05.13 Brussel (bel) - Ancienne Belgique Club
21.05.13 Hamburg (ger) - Nachtasyl
22.05.13 Bielefeld (ger) - Nummer Zu Platz
23.05.13 Hannover (ger) - Feinkost Lampe
24.05.13 München (ger) - Einstein
25.05.13 Geneva (ch) - La Graviere
26.05.13 Varano Borghi (it) - La Sauna Recording Studio
28.05.13 Bratislava (slovakia) - Atelier Babylon
29.05.13 Budapest (hun) - Akvárium Klub
30.05.13 Prag (cz) - Palac Akropolis
01.06.13 Gdansk (pl) - Club Zak
02.06.13 Warsaw (pl) - Cafe Kulturalna



Denovali Records is happy to announce the release of Greg Haines' new album WHERE WE WERE on cd, double vinyl and digital, as well as the release of 2006-2012, a collection of Greg's first three albums Slumber Tides, Until The Point of Hushed Support and Digressions as triple cd and 5 x vinyl collector's box in May 2013.


WHERE WE WERE [CD|2xLP|DIGITAL]

“WHERE WE WERE”, the new album from GREG HAINES, may come as a surprise upon first listen. The cascading strings that played such an important role in his prior work have disappeared, and in there place are intricate layers of tape-worn synthesizers. Any recordings of piano have been transformed and affected until their sound is at times barely recognizable. Moments of quiet, slowmoving textures can still be found, but they are nestled between upbeat, rhythmically-driven tracks that at times could even be considered for deployment on open-minded dancefloors. Although taking a year to complete, the nature of this record is born in its spontaneity and impulsiveness. The acoustic instruments such as piano, vibraphone and other percussion that found there way on to the album were not the result of months of composing - rather they were entirely improvised and often left completely unedited and raw. At first the idea was these rough tracks, full of noises and hiss, would later be re-recorded, but as the process drew on, it became clear that these kind of loose, half-thought moments were what defined the album - often “out-oftime” or “out-of-tune”, but always adding another dimension to the hazy, analog world of sound. This hand-crafted approach led to almost everything being constructed in the old-fashioned way; not with mouse-clicks, but with two hands moving dials and everything running to an aged tape machine.

This album is the result of one person sitting alone in a room and creating something entirely personal, without the frustrations of organising large-scale sessions for other players or the laborious work of preparing scores. In fact, the few scored moments that were written were later disregarded, with a whole string session with PETER BRODERICK ending up on the cutting-room floor (sorry, Peter!), along with endless hours of other material. What is left is the condensed diary of a year of exploring old tape delays, analog synths and percussion - some of which played by percussionist/composer SYTZE PRUIKSMA (a member, along with Haines, of THE ALVARET ENSEMBLE, whose debut album was released in December 2012 by Denovali Records), and some of which played and recorded in a midnight daze at Haines' studio in Berlin. Working in this way led to a whole host of other long-term influences feeding into the music that had never found an outlet before. The experiments in dub conducted by the likes of KING TUBBY or LEE PERRY and continued by the likes of RHYTHM & SOUND had a profound effect, as did the iconic work of TONY ALLEN and other African composers. The spaced-out soundscapes found on early TANGERINE DREAM and KLAUS SCHULTZE had always had a subtle influence on Greg's work, but now armed with an arsenal of dusty studio toys, those sounds became warmer, richer and more prominent.

The influences evoked here may at first appear at odds with Greg's previous work, but an affinity between the dense poly-rhythms of Africa and beyond have long been an influence for contemporary composers such as STEVE REICH, and their reach and importance on western music is undeniable. But now the lines have been blurred, and its impossible to say where one “style” or influence stops and another begins – something that was perhaps the only concept for this record. The symphonic synth crescendo of “So it Goes” would not have the same impact if it were not following the head-nodding drive of “Something Happened”. The delicate arpeggios of “Wake Mania Without End II” only exaggerate the unrelenting, rhythmical explosion of “Habenero”, and without starting with the intimate piano of “The Intruder”, the album's cavernous ending wouldn't feel so otherworldly. Its all in there or at least whats left of it after the hiss, the dirt and the degradation of the tape machine destroyed it, reworked it, and spat it back out fullyformed.

Mixed and mastered together with NILS FRAHM at his Durton Studio, Berlin.

Where We Were

Greg Haines - The Whole

I have to admit, Joachim Spieth was not a name that I instantly recognized. Most of his recent full-length albums and EPs, including the one I am covering right now, were put out on his very own German Affin label [and its subsidiary, Affin LTD]. But listening further, and digging some more, I began to recognize the ethereal aesthetic, the ebb and flow, and the atmospheric textures that felt slightly familiar. It is only after reviewing his discography further that I realized that Spieth has appeared on numerous Total and Pop Ambient installments curated by Wolfgang Voigt for Kompakt. Following a glimpse of his individual contributions, I returned to this long-player, again and again, traversing its slow-stretching arc through the warm-filtered spectrum. His third album, Ousia, is a follow-up to his 2020 Tides, continuing the journey through dreamlike environments, deep and calm, wide and open, like a limitless ocean spreading into the outer and infinite, distant and unknown. Even this morning, as my anxiety fed by the unknown is making itself felt in my chest, neck, and shoulders, the gentle and soothing sounds of “Jiwa” spread through my mind and remind me to simply step back, take a breath, and put things in context. Here we are.  For another short day. For another brief moment. And as I gather this time to reflect on what it truly means to be here and now, I hope that this music connects you with me, and with Joachim, in the dispatch of sonic transmission.

"[OUSIA] creates imaginary spaces, translates ephemeral impressions, and condenses them into cinematic soundscapes. The eight pieces illustrate an intense and emotional journey that creates expressive relationships between external and internal perceptions."

The album is out in January 2021, on a 2×12″ vinyl, with a special edition featuring a booklet of photographs by Spieth. Recommended for fans of introspective, oceanic, and tidal ambiance, from the likes of Markus Guentner, Brock Van Wey, and Marsen Jules.

Ousia

TRACK PREMIERE : Joachim Spieth - Jiwa

Musician, producer, sound sculptor. Founder member of the experimental 80's project Sigillum S. During the 90's he expands his creative activity collaborating with prestigious artists like Bill Laswell, Mick Harris, Toshinori Kondo, Russell Mills, DJ Olive, Jah Wobble, Thomas Fehlmann, Markus Stokhausen, Harold Budd, Nils Petter Molvaer and many others. Also known for scoring movie soundtracks for the Academy Award winner director Gabriele Salvatores. In 2008 he founded RareNoise Records, a new label based in London aiming to produce a wide range
of cutting edge music. He produced and published countless albums in his career. He has two bands Obake and Metallic Taste Of Blood. Currently working on new projects.

Don't Go Where I Can't Find You

Eraldo Bernocchi