I could tell by looking at the waveform that I would like this!

I am shocked man, this is so good, I have never enjoyed anything of such kind as much)

from 'Everything Will Change (Original Motion Picture Soundtrack)' [CD|LP|DIGITAL]
Denovali Records · den373
available on all formats at https://denovali.com/garymarlowe

“This film is one of those revelatory experiences that make you want to get up and do something.'' (WIM WENDERS)

When a living legend like Wim Wenders ("Paris, Texas"; "The Million Dollar Hotel"; "Buenavista Social Club”) decides to appear as a future version of himself in a movie, there must be something outstanding about it. The idea of the film is brilliant: We see our time through the eyes of our grandchildren, many years ahead. By the means of a fable, disguised as a documentary from the future, we understand that the era we critizise so much will actually be seen as the good old days. A true eye-opener.

Gary Marlowe began playing piano at four, turned into a synthesizer prodigy and much respected “synth god”, shared the stage with Iggy Pop and The Ramones, became a No.1 hit songwriter, and Gold Record winning producer. He is an official Steinway Artist, and has won numerous international awards for his film scores, which combine synthesizers, piano, electronica and orchestra to create unexpected, beautifully human sound worlds.

The choice of instruments was crucial to elevate the overall impression of the movie. Almost mythical organs, like the Farfisa Compact Duo Deluxe (as once used in early Pink Floyd) or a Philicorda, both made in 1967, were brought out as well as vintage synthesizer icons like the Minimoog, the Arp Solina or the monstrous Oberheim OB-8. To help the narrative, Gary Marlowe integrated a new sound aesthetic in the music dramaturgy of the film, with the help of the research teams of manufacturers like Arturia in France, or Bristol-based Modal Electronics, who provided brand new instruments to the artist, to create mesmerizing sounds which no audience has ever heard before.

To maximise the acoustic quality, Marlowe called in one of his favorite mixing engineers, to finalize the score together. Hans-Martin “HM” Buff, formerly personal engineer of Prince, joined the composer again, to carefully mix all those wonderful, delicate or thundering sounds into an exciting musical landscape. A landscape of a fragile future, which is still in our hands to define.

“A science fiction film about exctinction? To me, this is one of the most pressing topics of our time, and it is dangerously late to be addressed. Making and watching this movie is better than signing a hundred petitions.” (Gary Marlowe)

Everything Will Change (Original Motion Picture Soundtrack)

The Journey

Gary Marlowe - The Journey

Release Date: 10.11.14

Birthed between the burning fields of Kansas and the surreal landscape of the New Mexican desert, Black Vines is a dense layering of monophonic drones, delayed sitar and large scale cello arrangements. 

Combining the distorted and blackened influence of Aaron Martin’s recent solo and collaborative work with Joseph Angelo’s love of ragas, industrial noise and meditative minimalism, the eight elegiac strands of Black Vines are tribute to redemptive growth that occurs in the shadows.

Mastered by James Plotkin, featuring tracks reworked from the original parts by Dag Rosenqvist with stunning artwork by Chris Koell.

Packaging includes letter-pressed covers, glass mastered CD, 10 x limited edition prints on heavy card stock with glassine bags, all resting inside hand numbered, scented black envelopes. Limited edition of 200 copies!

www.fluidaudio.bigcartel.com/mailing-list

Black Vines - Shadows (Dag Rosenqvist re-work)

Kostas Maskalides - Stratosphere

Music composed, arranged, performed and mastered by Kostas Maskalides.
BPM: 123

- Synthesizers -
Bass: Mini V (Arturia)
Pads: CS-80 (Arturia), Pigments (Arturia)
Organ: Modular V (Arturia)
Arpeggios: Prophet-5 (Arturia)
Strings: Pigments (Arturia), Augmented Strings (Arturia)
Lead: The Legend (Synapse audio)
FX: Pigments (Arturia), ARP 2600 (Arturia)

From Here To Eternity

Kostas Maskalides - Stratosphere

this is one of two songs I made for the MAY WOLF '25: Awoopocalypse game jam entry "To The Shore's End"

play the game for free here: https://passiv-boi.itch.io/to-the-shores-end

Finale (To The Shore's End)

An absolutely beautiful track from the upcoming early December release from Polish composer and violinist, Olga Wojciechowska. From an album of music composed for various theater and film productions.

Olga Wojciechowska,  "Maps And Mazes",   Lazy Indifference

Track previews for Arovane & Hior Chronik's upcoming album 'Into my own', arriving on double transparent vinyl + digital, August 28th 2017. Preorder now available: http://asip.me/2wiYVrv

Arovane & Hior Chronik / Into my own (Album preview)

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

Bartosz Dziadosz & Tomasz Mreńca  "Black Lake" – Borderline

Not Home may seem an unusual choice of single from Anne Garner’s upcoming album Lost Play but there’s precious little that is conventional about this singer-songwriter. Fans of her strange, seductive melancholy will be beguiled once again by the song’s signature union of disembodied sadness and reassuring intimacy. Warm waves of electric guitar and synthesiser cradle glitchy, restless percussives, the soaring silvered pedal steel of Jack Hayter (Hefner, Dollboy) and a lyrical message both beautiful and hard to hear.

Not Home and Porya Hatami's remix are available across all major platforms and in lossless 24bit audio exclusively from Slowcraft Records.

Written by Anne Garner
Produced by James Murray with Anne Garner
Artwork by Bobbie Russon
Mastered by Dean Honer
_____

annegarner.com
poryahatami.com
jackhayter.com
bobbierusson.com

slowcraft.info

https://slowcraft.bandcamp.com/album/not-home

Not Home

11th May 2018

Stream/Download: http://smarturl.it/blurstem-drown

Written and produced by Chris Bartels, as an off-shoot project of @elskavon.

Fairfield

Never Said Goodbye

Focusing on experimental genres, we aim to provide a space to share in the creative process and spread the experience of inner exploration through musical expression.

Black Vines - Shadows (Dag Rosenqvist re-work)

Fluid Audio

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