post confinement

ambient/left-field

LIKED

Sounds of the Cloud- 3 Floating

TXTr

Torn Btwn Two By Passion0131(MTG)
Downward Spiral Beat by MTG
Marnic Studios...SOB 2013
Madcal Recordngs 2013

Torn Btwn Two By Passion0131(MTG) M.R.

Reeemiiiiixxx!!!
Original Track: https://soundcloud.com/donalisa/im-killin-em

Dona Li$a - I'm killin' 'em (Autostylahz Transgangster Remix)

Christian Vialard - Rao

Fade Away - Le Rêve Ouvrier

Polymath James Leyland Kirby must surely have one of the most confounding CV’s in the business: he spent years taking the piss out of the music industry with anthems rallying against the (VV)MCPS, he notoriously fell out with various well known record labels for reasons you’ll just have to google, goaded Aphex Twin with a series of ‘tributes’ and channelled his love of everything from Falco (Rock Me Amadeus), Chris De Burgh, Frankie Goes to Hollywood and Stockport karaoke nights into a stream of increasingly bizzare 7”s back in the early noughties.
But at the same time he was responsible for releasing some of the very earliest material from Boards of Canada (Hell Interface: 1997), made a ruck of frankly groundbreaking industrial electronic records, brought New Beat to the world’s attention and, in 1999, made his first album as The Caretaker, a project that would go on to release some of the most loved Ambient/ Lynchian albums of recent times. SInce then he’s also produced an incredible suite of releases under his own name, scored various film projects and released three EP’s under the ‘Intrigue & Stuff’ banner which are, for our money, so ahead of their time they might just start sinking in properly by the end of the decade.
All of which brings us to ‘Watching Dead Empires in Decay’, a new album recorded under another of Kirby’s pseudonyms ‘The Stranger’ and released on Modern Love, a label that has been close to Kirby through these last eventful 15 years. It’s a dream album for the label: perhaps the most ambitious of Kirby’s career so far. It’s complex, singular, enigmatic, percussive, dark, and you just can’t work out how it was constructed. Gone are the sampled 78’s of The Caretaker, but it also doesnt exactly sound electronic - you just can’t quite fathom how any of it was put together: Field Recordings? Found Sounds? Sheets of metal scraped and hammered? Drum machines re-wired? It’s stark and unsettling, haunted, even troubling - but often just beautiful.
It starts with the sharp clang of opener ‘We Are Enemies But Not Here’ before the woozy percussive crawl ‘So Pale It Shone In The Night’ sucks you into a bare landscape: somewhere between Eraserhead and Fumio Hayasaka’s music for Akira Kurosawa. And then there are moments that break through the tension with clarity and familiarity, nostalgia even: ‘Where Are Our Monsters Now, Where Are Our Friends?’ could have been made by Boards of Canada if they had taken a turn into more noxious terrain back in 1998, while ‘Spiral Of Decline’ offsets the drum programming you’d most likely associate with a Powell record with an oblique sense of timing and space. It all ends with ‘About To Enter A Strange New Period’, an unusual, vaporous coda that offers no resolution - it just shuts proceedings down with nothing settled.

So Pale It Shone In The Night

SHOUT OUT TO PASSION WALKER @ https://soundcloud.com/passion0131 THE COLLAB

Music By Rrp Repper feat. Passion Walker - Hold me down (Rrp Beat) (I collab for free)

HeSayz

BHO Injector - Debilitated By Trichomes

beat by http://soundcloud.com/jdiction really like the beat bro. cheers

Music is my Grind Prod by J®I✌

Eoforwine ‎– The Source 
Human Cross Records ‎– HCR012
Format: CDr, Limited Edition
Released: 2013

Tracklist
1. The Source 	        (13:20)
2 . Infantry Division 	(18:17)

32 minutes of droning noise in two tracks from Eoforwine (Hungarian noise project, started in 2011).
Eoforwine exists for noise, HNW, ambient noise, harsh ambient, experimental, with a spice of field recording, but they are usually not recognizable.

Artwork [Cover] is product ov neue urform.
Editions limited to 30 copies.

http://www.discogs.com/Eoforwine-The-Source/release/4539596

Eoforwine - The Source

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flaub - Construction Yard

The first of two centerpiece mixes from the live broadcast of the Shortwave Shindig March 2014. Poetry, shortwave stories, original music and vintage shortwave sounds.

Shortwave Shindig 2014 Mix One

http://www.myspace.com/aethenor
http://www.mothlite.org/
http://www.discogs.com/artist/%C3%86thenor

Æthenor - Vyomagami Plume

Track taken from the album "Time machines do exist" released this year.

Full Album

Antimateria

Taken from the album 'GRM Works' released as LP / Download
Recorded in 1967

Beatriz Ferreyra 'Medisances' (REGRM 015)

Taken from 'Tundra Remixed' - Out Now
iTunes - http://smarturl.it/TundraRemixed
bandcamp - https://bit.ly/1DPtNmp
bleep - https://bit.ly/1MnJnH1
boomkat - https://bit.ly/1TAdjFJ


https://twitter.com/lakker
https://www.facebook.com/lakkermusic
https://twitter.com/kyokakyoka

Lakker - Three Songs (Kyoka Remix)

NICOLAI STEPHAN, ASMUS TIETCHENS, STEFAN FUNCK, GREGORY BÜTTNER

'Heizung Raum 318' CD, (54:24 min), limited edition: 300 copies, cardboard sleeve,
2007 / 1000füssler 008

The four musicians have been meeting weekly in room 318 for years, but only now did they create music using the acoustics of the room. To be more precise, using one element in the room: the heating. The heating has two problems: first, it doesn‘t heat. Second, it whistles. Problem one is unnerving, especially during the winter. Problem two can be used aesthetically: by turning the radiator knobs, not only can the pitch of the whistling be varied, by using several radiators a multitude of sounds and noises can be created. To add to that, the three radiators used influence one another so that the musicians can provoke aimed acoustic situations. The three radiators were played simultaneously and recorded using a room microphone to create the material for the seven tracks. The unedited version can be heard on track eight.

Tracklist:
Stefan Funck: version paris-dakar / 6‘26
Stefan Funck: version hare / 6‘37
Gregory Büttner: heiz / 14‘23
Asmus Tietchens: keine Wärme / 10‘04
Nicolai Stephan: ziehung / 5‘07
Stefan Funck: version vier häuser / 6‘20
Stefan Funck: version almöhi / 0‘22
sourcematerial / ausgangsmaterial / 5‘05


www.1000fussler.com

Heizung Raum 318 preview mix

Blindside(FREE DOWNLOAD)

After dessert Father rose from the table 
Walked out through the French windows 
And we never saw him again

Some years later a friend of the family
Reported seeing him in Paris
He was dancing to modern music
With his collar undone

Naturally we were devastated at the time
But now I am older
I have found a kind of gladness
I am glad that he was dancing

Colette Girard, Blois, 1913

The illustration is from A festival of song: a series of evenings with the greatest poets of the English language (1876) http://archive.org/details/festivalofsongse00saun

This track incorporates audio by 7by7 from freesound.org



Buy this track

A Kind of Gladness

Alone In The Mist

Ambidextrous Dominatrix

-Composition #4 of a one sound source only project.

-Modus operandi: through metamorphosis & deep transformations, creating an entire piece by using one single sound source only.

-Regurgitating Pulverized Strings sound source used: mosesa string instrument invented by <a href="http://soundcloud.com/wilhelm-matthies">Wilhelm Matthies</a>.

Part of the digital album "Taking To Pieces, Heaping Together " http://ilse.bandcamp.com/album/taking-to-pieces-heaping-together

Regurgitating Pulverized Strings

For more information visit: http://www.klassikakzente.de/recomposed/home 

Some works are so familiar that it is almost impossible to hear them afresh, but that is what Max Richter has achieved with Vivaldi “Recomposed”. This is no mere arrangement; instead Richter has absorbed Vivaldi’s The Four Seasons into his own musical bloodstream. At first Richter followed the example of other works in the “Recomposed” series, which re-mix existing recordings, but, he says, “I wanted to open up the score on a note-by-note level, and working with an existing recording was like digging a mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. That became frustrating. I wanted to get inside the score at the level of the notes and in essence re-write it, re-composing it in a literal way.”Richter calculates that, in the process, he has discarded around three-quarters of Vivaldi’s original. He opens with what he describes as “a dubby cloud which I’ve called Spring 0. It functions as a sort of prelude, setting up an electronic, ambient space for the first Spring movement to step into. I’ve used electronics in several movements, subtle, almost inaudible things to do withthe bass, but I wanted certain moments to connect to the whole electronic universe that is so much part of our musical language today.” Other resonances are no less unexpected: Richter describes part of the first movement of his Summer as “heavy music for the orchestra. It’s relentless pulsed music, which is a quality that contemporary dance music has; and perhaps I was also thinking about John Bonham’s drumming. Then, in the second movement of Autumn I asked the harpsichordist Raphael Alpermann to play in what is a rather old-fashioned way, very regularly, rather like a ticking clock. That was partly because I didn’t want the harpsichord part to be attention-seeking, but also because that style connects to various pop records from the 1970s where the harpsichord or Clavinet was featured, including various Beach Boys albums and the Beatles’ Abbey Road.” Clearly, Richter has brought his own frame of reference to the project. As he says, “Vivaldi’s music is made of regular patterns, and that connects with post-minimalism, which is one strand in the music that I write. That felt like a natural link, but even so it was surprisingly difficult to navigate my way through it. At every point I had to work out how much is Vivaldi and how much is me. It was difficult but also rewarding because the raw material is so fascinating.”Just as Richter’s Seasons plays tricks with the way we hear Vivaldi’s original, so it also asks questions of the soloist, Daniel Hope. “Violinists have Vivaldi’s The Four Seasons hardwired in their brain. Daniel is likely to play the original I don’t know how many times in a year, and for him to have my parallel text going on in another part of his brain is a challenge. I think he did a wonderful job. He brought to it a deep engagement with the original, but he was fully prepared to cut this new swathe through the text.”


Spring One - Vivaldi Recomposed - The Four Seasons

Spring 1 (2012)

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This is high dynamic range music. Just raise the volume knob, you will be surprised...

Flaub, composer, performer and visual artist mainly orientated to avant-garde, experimental and ambient music.

With the aim of compiling sonic substance and creating new devices from old industrial machines and recycled scrap, I spent several years living into an abandoned factory reconditioned as a sound laboratory. Besides those post-industrial quests I use to travel around the world documenting sonic and visual material. Combining all that stuff with the research of new synthesis methods, this music not only describes pictures, it will transport you to a sort of surreal and Sci-Fi scenarios, images that are quite difficult to define.

Fernando Laub (Argentina, Austria)