Take the key low

 [[tapedel] played & programmed customised Yamaha Disklavier Pro, Recorded To Nagra IVS 5"]

avril 14th, notes played backwards, not the audio.

My remix of '00:26' by Ólafur Arnalds & Nils Frahm is now available on 
https://erasedtapes.bandcamp.com/album/erased-tapes-collection-viii
Taken from the album 'Trance Frendz' · www.arnaldsfrahm.com

Ryan Davis on Facebook: www.facebook.com/ryandavissound/
Ryan Davis on Instagram: www.instagram.com/ryandavismusic/
Booking under booking@ryandavis.de

Commencing the 10th anniversary celebrations with a free compilation entitled Erased Tapes Collection VIII, Erased Tapes also welcomes the iconic Penguin Cafe to the roster amongst tracks from new signing Daniel Brandt (of Brandt Brauer Frick) and Peter Broderick’s duo project Allred & Broderick. It also includes recent compositions by Rival Consoles, A Winged Victory For The Sullen, Ben Lukas Boysen, Douglas Dare and Immix Ensemble & Vessel, as well as a previously unreleased soundcloud.com/ryan-davis remix of Erased Tapes stalwarts Ólafur Arnalds & Nils Frahm which was recently favoured by Aphex Twin and an exclusive edit of Woodkid & Nils Frahm’s score for JR’s Ellis, with spoken words by Robert De Niro.

The Story before: 

When i heard the Album Trance Frendz of Olafur Arnalds & Nils Frahm for the first time, i directly felt a connection to the song they both started together at 00:26. The fine textures of the synths and the subtle evolution in this one-taker brought up the idea of having a version i can play in the late nights on the dance floor but which also would work perfectly for listening in your comfort zone. 

The drums and way of how the remix should flow came naturally and as i had the song standing i layered the original stems here and there to have the track playing in some kind of canon. As i was very happy with my personal version i sent it out to https://soundcloud.com/olafur-arnalds, https://soundcloud.com/erasedtapes & the rest of the participants of this project. Gladly Olafur picked up my remix and forwarded the song to the label which lead to having this unofficial version approved to share with you out there. I hope you like it and thanks to Erased Tapes and all involved for the support :)

More

Ólafur Arnalds & Nils Frahm - 00:26 (Ryan Davis Rethink)

CO/R, a Herron & Joy Orbison collaboration.

www.tossportal.com

CO/R - Dripback

Collaboration with good friend Mike Paradinas. 

Read more about it and the new album at The Fader http://www.thefader.com/2016/10/13/faltydl-frigid-air-interview

Bandcamp

Frigid Air feat µ-Ziq

Out tomorrow 10/21/2016 on Blueberry Records 

Video directed by Michael Tan https://www.youtube.com/watch?v=JbdB1vl8xtg

pre-order/buy: https://faltydl.bandcamp.com/album/heaven-is-for-quitters

Whisper Diving

http://www.nts.live/shows/pandoras-jukebox/episodes/pandoras-jukebox-20th-december-2016

in cooperation with BRINGDOWNTHEWHIPS

STORY TWELVE NTS 201216

From the album The Kid out October 6, 2017 on Western Vinyl

Pre-Order The Kid
BLEEP https://bleep.com/release/86790-kaitlyn-aurelia-smith-the-kid
Norman Records https://www.normanrecords.com/records/166212
Bandcamp https://kaitlynaureliasmith.bandcamp.com/album/the-kid
iTunes hyperurl.co/8n4qa5
WV http://westernvinyl.com/shop/wv170

In 2017, the musical term “electronic” is nearly obsolete given the ubiquity of computerized processes in producing music.  Even so, the prevailing assumption is that musicians working under this broad umbrella must be inspired by concepts equally as electrified as their equipment.  Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this notion couldn’t be further from the truth, and that more often than not, rich worlds of synthesized sound are born from deep reverence of the natural world.  Smith (who by no coincidence, cites naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself.  The album, which punctually follows up her 2016 breakthrough EARS, chronicles four defining cognitive and emotional stages of the human lifespan across four sides of a double LP.

The first side takes us through the confused astonishment of a newborn, unaware of itself, existing in an unwitting nirvana.  Smith’s music has always woven a youthful thread befitting of the aforementioned subject. Here she articulates it in signature fashion on the track “An Intention,” which serves not only as a soaring spire on The Kid, but on her entire output.  There is playfulness here, but it's elevated by an undertone of gravity into something compelling and majestic that is fast becoming Smith’s watermark.  The emotional focus of side two is the vital but underreported moment in early youth when we cross the threshold into self awareness.  The subject is profound enough to fill an entire album, but rarely makes its way into a single track, indicating Smith’s ambition to broach subtler and deeper subjects than the average composer.  This side offers up another highlight in the form of “In The World But Not Of The World” which serves its subject well with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end pulse.

Side three emphasizes a feeling of being confirmed enough in one’s own identity to begin giving back to the formative forces of one’s upbringing, which is arguably the duty that all great artists aim to fulfill.  This side ends with the exploratory album cut “Who I Am & Why I Am Where I Am” recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble piece of sound design serves as a contrast to side four’s verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself.  This final side represents a return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life.  On “To Feel Your Best” this concept is voiced in the bittersweet refrain “one day I’ll wake up and you won’t be there” which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the listener, and both interpretations are equally moving.

Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners, and here she represents her kind proudly.  The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here.  As Kaitlyn Aurelia Smith explores her existence through music, she guides us in gleefully contemplating our own.

Kaitlyn Aurelia Smith - "An Intention"

Free Gestures is a choreographic exhibition, activated by a group of dancers for five hours each day. The starting point is the question of how ideologies become incorporated into our bodies and language. Here, it is not the performers’ bodies or objects that are the works of art, but rather the performed texts, gestures, and movement. The first individual exhibition of Ula Sickle, a Canadian artist of Polish origin, presented in the Ujazdowski Castle Centre for Contemporary Art, confronts the problem of the loss of individual and collective agency in today's world.
Curator Agnieszka Sosnowska
 
Artist’s assistant Dominik Skrzypkowski
 
Coordinator Joanna Manecka
 
Performers Liwia Bargieł, Ewa Dziarnowska, Jan Lorys, Joseph Funnell, Wojtek Grudziński, Karolina Kraczkowska, Sara Lâm, Ania Nowak, Aleksandra Osowicz, Bożena Wydrowska
 
Texts Natalia Fiedorczuk-Cieślak, Amandeep Sandhu, Jacob Wren, Mi You, Anna Zett
 
Costumes Sabrina Seifried
 
Assistant Sylwester Krupiński
 
Music Poly Chain
 
Exhibition design Studio Matosek/Niezgoda (Paulina Tyro-Niezgoda/Piotr Matosek)

More: http://www.ulasickle.com/performances/free_gestures_-_wolne_gesty/39/

Ula Sikle Free Gestures

Intro

no headphone allowed to monitor or use so messy life is a thing. lets pretend

Take the key low

formost_intent

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