Name: Christina Vantzou - 11 Generations Of My Fathers by ghostly in 𝐴𝑏𝑠𝑡𝑟𝑎𝑐𝑡 𝐴𝑚𝑏𝑖𝑒𝑛𝑡, 𝐷𝑟𝑜𝑛𝑒 & 𝑀𝑜𝑑𝑒𝑟𝑛 𝐶𝑙𝑎𝑠𝑠𝑖𝑐𝑎𝑙 𝐼𝐼𝐼
Duration: 5 min 16 s
Description: Christina Vantzou is 1/2 of The Dead Texan (a project shared with Adam Wiltzie of Stars of the Lid). Christina explores similar terrain with "11 Generations Of My Fathers" which is taken from the compilation, 'SMM: Context", due March 1, 2011 of Ghostly International.

A beauty. Really great. Thank you Christina.

If I wanted to make a dj mix with this track, how would I contact Christina? Because Soundcloud just flagged a mix but said the copyright owner was ".". Yes, how do I contact that type of punctuation for permission to use the track in a dj mix?

Find SMM:Context in The Ghostly Store: http://www.theghostlystore.com/search?q=SMM

𝑇ℎ𝑒 𝑤𝑎𝑡𝑒𝑟 𝑐𝑎𝑙𝑙𝑠 𝑡𝑜 𝑚𝑒,
𝑠𝑎𝑦𝑖𝑛𝑔: 𝑌𝑜𝑢𝑟 𝑏𝑜𝑑𝑦 𝑖𝑠 ℎ𝑒𝑟𝑒 𝑤𝑖𝑡ℎ 𝑢𝑠.
𝑊ℎ𝑒𝑟𝑒 ℎ𝑎𝑣𝑒 𝑦𝑜𝑢 𝑏𝑒𝑒𝑛? 𝑊𝑒 𝑤𝑒𝑟𝑒 𝑤𝑎𝑖𝑡𝑖𝑛𝑔.
𝑅𝑒𝑡𝑢𝑟𝑛 𝑡𝑜 𝑦𝑜𝑢𝑟𝑠𝑒𝑙𝑓.

― 𝐺𝑟𝑒𝑔𝑜𝑟𝑦 𝑂𝑟𝑟, 𝑓𝑟𝑜𝑚 𝑇ℎ𝑒 𝐵𝑟𝑖𝑑𝑔𝑒, 𝑖𝑛 𝑇ℎ𝑒 𝐶𝑎𝑔𝑒𝑑 𝑂𝑤𝑙

(𝑃ℎ𝑜𝑡𝑜ℎ𝑟𝑎𝑝ℎ 𝑏𝑦 𝑆𝑣𝑒𝑟𝑟𝑖𝑟 𝑇ℎ𝑜𝑟𝑜𝑙𝑓𝑠𝑠𝑜𝑛)

𝐴𝑏𝑠𝑡𝑟𝑎𝑐𝑡 𝐴𝑚𝑏𝑖𝑒𝑛𝑡, 𝐷𝑟𝑜𝑛𝑒 & 𝑀𝑜𝑑𝑒𝑟𝑛 𝐶𝑙𝑎𝑠𝑠𝑖𝑐𝑎𝑙  𝐼𝐼𝐼

Recorded on July 30 2014 in Budapest Hungary @ Mygar Radio Studio #22 with the Budapest Art Orchestra. 
Conducted by Peter Pejtsik....

https://adambryanbaumwiltzie.bandcamp.com/releases

The Endless Battle Of The Maudlin Ballade Part 3

Echoes Across The Plain

Beach Song (chopped n screwed)

Track taken from the upcoming album 'Into The Well' released through Fluid Audio, October 2015...

.....

- Music and arrangements by Dag Rosenqvist and Aaron Martin
- Vocals arranged and performed by Dawn Smithson and Jerker Lund 
- Horns performed by Henrik Munkeby Nørstebø (trombone) and Jenny Olsson (French horn)
- Recorded in Gothenburg, Sweden and Topeka, Kansas
- Mixed by Dag Rosenqvist at The 63rd Link in Gothenburg
- Mastered by Taylor Deupree at 12K Mastering

.....

Aaron Martin:
Cello, bass, roll up piano, voice, vinyl, singing bowls, banjo, lap steel

Dag Rosenqvist:
Piano, pump organ, Fender Rhodes, various organs and synthesizers, acoustic and electric guitars, glockenspiel, voice and field recordings

.....

Mailing List:

http://fluidaudio.bigcartel.com/mailing-list

From The Mouth Of The Sun -  Into The Well

Dead Light was created after Anna Rose Carter and Ed Hamilton moved from London to a quiet, remote space in the countryside. The migration out of the sprawling metropolis to their new rural refuge was a transition that significantly impacted them both, and one that continues to turn and shift under the ambivalence of change, loss, and new beginnings.

Dead Light is released on vinyl, CD and digital download on October 14th, 2016.

Preorder here: https://itunes.apple.com/gb/album/dead-light/id1138056150

www.villagegreenrecording.co.uk

Dead Light - Blooms

Track taken from the new Hotel Neon album 'Context' forthcoming on Fluid Audio...

Mailing list:

www.fluidaudio.bigcartel.com/mailing-list

....

Album Credits:

Music written, recorded and produced by Hotel Neon 
www.hotelneonmusic.com

Additional textures and arrangement on "4:10 AM" by Takahiro Yorifuji
www.hakobunemusic.jp

Vocals on "6:59 AM" and "8:30 AM" by Lacey Tasselmyer.

Mixing and additional production by Matthew Kidd 
www.slowmeadow.com

Mastering by Taylor Deupree 
www.12kmastering.com

....

Tracklist:

1. 12:41 AM
2. 1:57 AM
3. 3:04 AM
4. 4:10 AM (ft. Hakobune)
5. 5:20 AM
6. 6:37 AM
7. 6:59 AM
8. 7:42 AM
9. 8:30 AM

....

Release Date: Feb / 2017

Context

Hotel Neon - 7:42 AM

The Lost

Otto A Totland - Vates

A track taken from DR-50 : Aaron Martin & Machinefabriek - Seeker

The album will be out on December 15th on CD /DL
dronarivm.com

pre-orders start December 1st

Originally conceived for the Korzo production Hide and Seek by choreographer  Iván Pérez.

Rutger Zuydervelt (Machinefabriek):

In 2012, choreographer Iván Pérez asked me to work on a score for a dance piece of his called "Hide And Seek" in collaboration with the great Aaron Martin. I don't think he knew at that point that Aaron and I had worked together previously (on "Cello Drowning," an EP released on Type in 2007). Living in the US, Aaron started recording parts and sending them to Iván and me. Then, I would use his recordings to build the score: processing them, editing them, adding sounds, etc..

The tracks on the "Seeker" album are basically the refined versions of the first sketches we made, trying out how our sounds would blend, and what directions and atmospheres could be used in the dance performance. After that, these tracks were morphed into one long collage, tailored to the choreography. This final score is added to the album as a digital bonus.

Aaron Martin:

Iván Pérez had used some of my solo work in a previous dance piece of his called "Kick the Bucket" and Rutger and I have been in touch since the release of my debut album "Almond."  Rutger and I met briefly after I performed in Amsterdam in 2009, but the creation of "Hide and Seek" gave us an opportunity to continue our work together and to spend a bit more time in person leading up to the premiere in The Hague.  During rehearsals, we both agreed that creating an album version with separate tracks along with the long-form version that was used for the actual dance piece was the right approach.  My time in Holland was a formative experience and the resulting album "Seeker" is something that I continue to remember fondly.  I am eager to finally share this music with listeners.

This has been a long way coming. After some unforeseen delays, we are thrilled to be working with Dronarivm for the release of "Seeker."

Mastered by James Plotkin

Buy CD / DL

Aaron Martin & Machinefabriek - Wings In The Grass

Drops in an Ocean

Listen / Purchase: https://lnk.to/dcad

Film composer and multi-instrumentalist William Ryan Fritch's long-anticipated double album, ‘Deceptive Cadence: Music For Film Volume I & II’ out now on Lost Tribe Sound.

It’d be a laborious task to run through all of Fritch’s many accolades, since 2009 he has released over 20 albums and composed music for over 30 feature films and more than a hundred short films. Lost Tribe Sound has been by his side since the beginning, releasing a few of his finest stand alone scores, including the critically acclaimed, ‘The Waiting Room’, ‘Eagle Hunters in a New World’, and ‘The Old Believers.’ Of course, LTS could boast for days about what a musical genius we believe he is. Yet, having written so many of these press rants for Fritch in our time, we’ll try to curb ourselves at the risk of preaching to the choir or sounding disingenuous.

That isn’t to say, Fritch isn’t well deserving of mountains of praise. We are honestly amazed that his film music hasn’t attracted the attention of more major motion picture studios. To date, Fritch has penned imaginative and impressive scores for narrative and documentary productions that run the gamut of most every imaginable genre and aesthetic. From raw and emotional films that uncover startling humanitarian and ecological crises, such as 2016’s Oscar-nominated short film ‘4.1 Miles,’ and National Geographic’s sweeping ’Into The Canyon,’ to eccentric and nuanced biopics and documentaries on figures such as Ursula K LeGuinn, Bill Nye and Johnny Cash. Fritch has found unique and artful voices for these wide ranging stories.

Most of those familiar with Fritch, know only of his albums as a singer songwriter or genre-elusive multi-instrumentalist, which truly represent a small fraction of the depth and range of his work. ‘Deceptive Cadence…’ gathers the most remarkable and memorable pieces from Fritch’s vast catalog of film compositions. Rather than filling up two volumes with half assembled film cues and fragmented themes, Fritch has gone to great lengths with ‘Deceptive Cadence…’ to make sure both volumes tell a story, build theme, and create a satisfying full album experience as good as any movie they may have come from. While this music once graced a particular film, show, or commercial, it has all been reimagined, reworked and made whole in post-production to complete the epic narrative of ‘Deceptive Cadence…’

Cover Image by Joe Borreson (http://www.dustclouddesign.com)

Deceptive Cadence - Music For Film Vol. I & II

Gut Level

Buy Album/Series

William Ryan Fritch - Gut Level (from Deceptive Cadence: Music For Film Vol. I & II)

1631 Recordings is proud to release the original score for the indie documentary “The Man Behind The Microphone” composed by Tom Hodge and Franz Kirmann.

Directed by Claire Belhassine and produced by Claire de Lune Films and Roast Beef/Nutopia, The Man Behind The Microphone starts from a very personal story (the British director found out by chance in her early 30s that her grandfather was a legend of Tunisian music, the ‘Frank Sinatra’ of Tunisia) and turns into a family saga and a reflection on the nature of fame, culture, heritage and homeland.

Tom Hodge and Franz Kirmann have worked collaboratively over the past 10 years and have released three albums together under the guise of their post-classical/electronic moniker Piano Interrupted. This is their  second soundtrack together, having composed the score to BBC One series McMafia earlier this year.

The Man Behind The Microphone took several years to complete and Kirmann & Hodge were involved early on, sketching compositions loosely inspired by some of Hédi Jouini’s own music. Sometimes they would sample a small musical phrase from his old recordings or write harmonies and chords in a relative key to use as a starting point for their pieces. Their score echoes the melancholy and investigative nature of Claire Belhassine’s quest for her grandfather and the mysterious and fragmented aspects of the story.

Kirmann’s vaporous electronics and Hodge’s ghostly piano and clarinet lines are mixed with earthy analog synth basses and a string quartet provided by the London Contemporary Orchestra. The soundtrack is a melancholic and dreamy journey over 9 pieces, oscillating between post classical, minimalist and ambient music.

“There is a real sense of culmination about this soundtrack. In one way way it is our very first score, as it started long before McMafia. But even more so, you might say it is simultaneously our first and last Piano Interrupted record, or our very first collaboration even. Our album Two By Four was strongly influenced by our work on the prototype of this film and the sound of Papa Hedi. Yet because of the longevity of this film project, our combined musical voice has been profoundly altered by our work on our other two Piano Interrupted albums, as well as the four hours of score we wrote for McMafia. Here we are, full circle.”

www.1631recordings.bandcamp.com

The Man Behind The Microphone

Tom Hodge & Franz Kirmann - Ghost Of My Grandfather

https://oliverpatriceweder.bandcamp.com/releases
https://www.instagram.com/oliverpatriceweder/
https://www.instagram.com/sa_recordings/

SA001
Released January 17, 2019 

Mix and Master by Harry Wilson 
Photography by Lee Kirby 
Design by Aspa Founti & Tom Howe 
All Recordings © 2019 SA Recordings 
All Compositions © 2018 Oliver Patrice Weder

For A Troubled Mind

The music of Christoph Berg is the soundtrack for many moments in my daily life. He is my beloved mate and friend from Berlin and i did this track to feel much more connected with him. Enjoy. 

Field Rotation - Sleepless rework by Hior Chronik

Christina Vantzou is 1/2 of The Dead Texan (a project shared with Adam Wiltzie of Stars of the Lid). Christina explores similar terrain with "11 Generations Of My Fathers" which is taken from the compilation, 'SMM: Context", due March 1, 2011 of Ghostly International.   

Christina Vantzou - 11 Generations Of My Fathers

Ghostly International and Spectral Sound. Of Art & Artifice since 1999.

Christina Vantzou - 11 Generations Of My Fathers

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