Taken from the upcoming album 'Watering a Fake Flower'.

..........

Open to the Sea are Enrico Coniglio & Matteo Uggeri...

Enrico Coniglio: piano, organ, Yamaha TX7
Matteo Uggeri: rhythms, field recordings, samples, sort of backing vocals

with:

Mattia Costa: drums
Alessandro Sesana: trumpet
Andrea Serrapiglio: cello, drones

Recorded by Enrico Coniglio and Matteo Uggeri in Venice and Milan.
Drums recorded by Gianmaria Aprile at Argolab, Varese.
Cello recorded by Andrea Serrapiglio.
Additional VOG treatments on “I Can Hear…” by Gianmaria Aprile.

Mixed and produced by Matteo Uggeri
Mastered by Ian Hawgood
Artwork by Daniel Crossley

www.fluidaudio.co.uk

Watering a Fake Flower

Open to the Sea - If One Moment Could Be My Entire Life (Pt 1 & II)

Today, I am happy to share with you a new piece of music that will serve as the opening to the upcoming mini-album that I will self-release later this summer. To be honest, with all these written words for many years, talking about all this music by many of my favourite composers, I'm actually pretty shit at self-promoting myself. This is why I usually leave this "job" to the many wonderful labels to spread the word. And then I amplify and filter. "Saturated Signals" is a continuation of my sonic journey initially explored on Sacred Tonalities, which was put out on the amazing Past Inside The Present in February of 2023. Initially, it was conceived as a bonus or a follow-up track until it evolved on its own, as music usually does. I then invited a few of my dear friends to rework the piece and add their special touch to the heavily layered synthesized and organic textures which I provided as a foundation for this piece. Each distinct interpretation offers a perfect tint of the individual composer's aesthetic to create a collective whole that you can experience as a unified journey in half an hour's time, connected by an interweaving theme. I will share Saturated Reworks with the world in just a couple of weeks, followed by the full mini-album, but first, here's the single.

Saturated Signals

TRACK PREMIERE : Mike Lazarev - Saturated Signals

Tracklist

01. James Murray - Bittersweet
02. Jason Kolàr - Taishido
03. Norihito Suda - Traversing a Dream from One Side to the Other
04. FourColor - Blur
05. Andrew Lang - Momentary Senses-Oulu
06. Ciro Berenguer - Retorno al mar
07. Bill Seaman - Anadyomene Inframince
08. Federico Durand - Cinco luciérnagas

391. Sleepy Sunday Podcast (Elm Records)

There is something special about that dark and nostalgic music that seems to be echoing from the past, as if breaking through another dimension of time, trembling through the gritty playback on a warped and dusty tape, fading in and out on a crumbling old photograph, shades of colours long gone... long gone. The music of Black Swan has embraced this noir-fi aesthetic throughout the years, ever since I first heard the debut, In 8 Movements, released in 2010. Immersed in chilling ambience, hauntology, and the ephemera left behind, the music of Black Swan captures the eerie essence of the in-between, exploring the shadowed depths that linger at the periphery. Exactly twelve years ago, I invited this mysterious artist from New York to make me a Halloween-themed mix, which I published here as Music For Masquerade. Today, I am premiering two tracks for you from his upcoming album on Past Inside The Present, titled Ghost, to be released, of course, on Halloween. This is now his ninth full-length release, in which the spirits roam in our world, leaving their voiceprints on abandoned reel-to-reels to be discovered and played back. And as the twenty pieces and vignettes recede and fade away, all we are left with are the memories imprinted on our hearts and minds. The memories of those who are long gone... long gone. As we will be some day.

Read more on Headphone Commute:
https://headphonecommute.com/2024/10/29/black-swan-somewhere-but-here-and-time-loop/

Ghost

Somewhere But Here and Time Loo

TRACK PREMIERE : Black Swan - Somewhere But Here And Time Loop

Glacial Movements is an Italian record label which has been reducing the temperatures of our hearts for nearly two decades now. But besides the frosty and desolate spaces, there’s something warming about its approach. Perhaps it’s about paying attention to all of those forgotten, faraway places where nature continues on its course regardless of the insanity that we create and then attempt to sort out. Perhaps things are not as complicated as we make them out to be. Mayhaps the physical simplicity of the colliding icebergs is the answer to our problems. So let’s turn off the televisions and let’s delete accounts, and turn towards the spaces where our minds can rest. One such deep reflection on social themes and existential moments can be found in the fascinating narrative of Italian multidisciplinary artist Lia Bosch and her upcoming debut album, titled Polar Code. There is a darker undertone behind this music, which is just one piece of this conceptual, multi-dimensional and immersive project together with visuals and words [some of which I will share below], provoking thoughts on organic fragility, cosmic expansion, and what it means to be truly human.

Read more on Headphone Commute:
https://headphonecommute.com/2024/11/20/lia-bosch-stepping-beyond/

Polar Code

Stepping Beyond

TRACK PREMIERE : Lia Bosch - Stepping Beyond

The 'Noise Print' project began from a desire to create deep, earthy textures. I had an image of walking along a narrow forest path and being very present in the moment. For this album I changed my usual approach by setting a one-hour time limit for each studio session. As soon as I set this limitation my ‘chattery brain’ started stirring up doubts about my ability to work under these confines- an hour wasn’t long enough to create ‘amazing music’ and that setting such restraints would be stopping me from producing quality work. However, once I started working, a diﬀerent, more grounded version of myself emerged-more sure footed and less neurotic and anxious, focused on the present moment rather than getting anxious over future outcomes. And the outcomes were good, I was really happy with the material I was creating and the whole of Noise Print was made in these sessions.  

While I made the album I started to think about identity, shadow selves, unconscious selves, versions of ourselves that are quite diﬀerent from the everyday person we think we are. In many ways this was quite comforting, the thought that my everyday self could take it’s hands of the wheel and let a grown up much more capable person could get on with the work. On reflection I realise that making music is one situation in my life where I’m able to tap into this state without too much diﬃculty (most of the time) but it was during the making of Noise Print that I actually noticed it was happening.  

This led me to think about the concept of shadow selves-alternate versions of our subconscious selves that operate beyond our everyday distractions and influences. Like the image of the forest track-a space where the noisy mental clutter fades, and a deeper, older self takes over.  

To sum this one up-it’s like a walk along a narrow forest path and the present moment is very much alive-your mind is right in ‘the now’ with past and future losing any meaning. The ‘Noise Print’ title came about by me thinking if you could print to tape the sound of your psyche/consciousness when your are in this present focused, deep state.  

- Phil Tomsett - April 2024

Noise Print

Phil Tomsett - Noise Print (Preview)

Taken from PERILS - S/T (Pathway010)
PERILS is Benoît Pioulard and Kyle Bobby Dunn.

Mutual admirers of each other’s work, Thomas Meluch (Benoît Pioulard) and Kyle Dunn (Kyle Bobby Dunn) endeavored to put together a collaborative recording that ruminates on painful realities, disappointments, and transitioning to new homes, in the hopes of finding a coping mechanism to bring them through to the other side.
PERILS began auspiciously in 2012 at transitional points in these artists’ lives. Kyle was living in a small town called
Belleville, Ontario trying to complete Kyle Bobby Dunn and The Infinite Sadness (Students of Decay) and coming to grips
with the fact that this great endeavor was at its end. Given the enormity of the record and the emotionally and physically
exhausting process of recording the album, Kyle found himself drained with unforeseen questions and confusions. Working only at night, Kyle immersed himself into this newfound nocturnal work, finding a path in the midst of wondering. Thomas, meanwhile, was in a state of literal transition: uprooting from the UK and relocating to Seattle during the recording process of PERILS. In a state of flux, nearly drowning under the anxieties of living on uncertain ground, Thomas channeled these emotions into musical escapades. Thomas recorded in his spare moments, sending sonic puzzle pieces one by one to Kyle, who would in turn explore the musical sentiments Thomas had shared, adding his own billowing sounds to the seething mix.
The ten pieces created for this release are culled from a poutine- and whisky-fueled trudge through the dark corridors of an as-yet undiscovered or possibly imaginary mystic temple. Commencing with the shimmering guitar and tape loops of “Colours Hide My Face,” the album crawls out of the grooves with a slow-churning turmoil, coaxing the listener to embark along its path. The dirge-like guitar clang and vocals of “(Dead in the) Creekbed Blues” could be an 18th century blues standard emitted from a buried radio. On PERILS, Thomas Meluch and Kyle Bobby Dunn lock arms and together chart the upheaval in their lives to bridge the liminal gulf between the once-was and the soon-to-be.

PERILS - Flaw

Deep relaxation ambient music for spas, massage studios, wellness centers and therapy rooms. Singing bowls, drones, organic textures and silence — designed to support full body release and mental calm. No vocals, no percussion, no interruptions. Produced by Ricco Music.

Linen & Silence12

Ethereal ambient soundscapes for your pleasure, relax, chillout and enjoy.

AMBIENT - FUTAGO SAN

The two AIs I consulted (ChatGPT and Google) took opposite views on whether a triangle is a bell. I'm inclined to agree with ChatGPT (who said no, it isn't), but they both agreed that bells and triangles are idiophones, which is close enough.

As seems to happen with many @disquiet projects, there is a timely alignment with another project I completed yesterday collaborating with another live artist zack mennell. In this piece I have merged elements of a sound design for filim, live performance and a composition demo drawing on drones and recently made recordings of a triangle.

More on the 741st weekly Disquiet Junto project, Balance Beam — The Assignment: Write music for bell and drone — at https://disquiet.com/0741/

Smells and Bells (disquiet0741)

Track for Slow sketch vol. 1: Reflections of the ambient community, on El Muelle Records.

Warmth - Dögun

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.

Open to the Sea - If One Moment Could Be My Entire Life (Pt 1 & II)

Fluid Audio