A collection of tracks I personally connect to the sonic world of my recent single 'Dive'.



Tracklist:

00:00 Max Cooper - Repetition (fragment)
00:26 Four Tet - Two Thousand and Seventeen
02:39 Bicep - Apricots
07:09 Caribou - Can't Do Without You (Tale f Us, Mano Le Tough Remix)
10:32 Christian Löffler - Ronda
14:32 Ben Böhmer - Cappadocia (feat. Romain Garcia)
18:01: Max Cooper - Repetition
23:13 Klaus Schulze - Alberich (fragment)
25:11 Lorenzo Senni - Dance Tonight, Revolution Tomorrow
26:25 Dominik Eulberg - Dreizehnspecht (Nathan Fake Remix)
31:50 Max Cooper - Perpetual Motion

Dive Mix

With a little help from NASA, we present the second track from the compilation Dark Space Matters - 'Lumina'.  More here: http://bit.ly/1rt7cz0

Lumina

Petur Jonsson | Lumina

Pre-order 'Trance Frendz' on LP/DL: www.erasedtapes.com/store/index/ERATP081
or digitally iTunes: snip.ftpromo.net/trancefrendz

Having been available exclusively as the second disc to 2015's 'Collaborative Works', Ólafur Arnalds and Nils Frahm's improvised audio recordings 'Trance Frendz', taken from their 45-minute studio film of the same name, have been given their own vinyl release – out March 4th, 2016.

Prior to a string of collaborative Erased Tapes releases, which include 2012's 'Stare' 10” and last year’s 'Life Story Love and Glory' 7” and 'Loon' 12” – compiled on the 'Collaborative Works' 2-CD set, Ólafur Arnalds and Nils Frahm spent many hours together in their studios across Berlin and Reykjavik. Both have carved out genre-defying musical careers and formed unique live shows, creating a fan base loyal to their prolific output.

During a session at Durton Studio in Berlin last summer, Nils and Ólafur invited Alexander Schneider and his camera to document it. The recording continued long after the first take, stretching out into the next day until, eventually, several new improvisations had been recorded in 8 hours with no overdubs or edits. The unexpected nature in which these pieces had been created was reminiscent of their first on-stage improvisation many years ago. It became immediately clear how special these songs were.

"At the end of the night we had all this music that sounded unfamiliar even to us, loudly asking to be included in this collection.”

Originally made available as a 45-minute film on their joint website (www.arnaldsfrahm.com) last September, 'Trance Frendz' will be available to own on vinyl from March 4th, 2016.

Press for their 'Collaborative Works':

'A particularly joyous wash of slinky percussion and juddering layers' (8/10) – Clash

'An enchanting listen. The bar for a Lads' Night In has just been raised a few notches' (7/10) – Drowned In Sound

‘This is music for slowing down the pace of modern life... An immersive listening experience is guaranteed, while we must hope Frahm and Arnalds go on ‘holiday’ together more in future, and don’t forget to take their musical instruments.’ ★★★★ – MusicOMH

'A collection of gorgeously intimate piano compositions and eye-opening synth pieces, each never aggressive but always powerfully poignant' (8/10) – Under The Radar

'What Collaborative Works offers is something strange: a shared world created by two mad geniuses. Long may Arnalds and Frahm tinker' (8/10) – PopMatters

'Collaborative Works further proves just how natural a fit Ólafur Arnalds and Nils Frahm are together' – Resident Advisor

Trance Frendz

20:17

Buy LP/2CD/DL

Ólafur Arnalds & Nils Frahm – 20:17

Buy / Stream Album: https://lnk.to/wsmsettlers

Follow WSM on Bandcamp: http://westernskiesmotel.bandcamp.com
 
'Settlers' is the new album from Western Skies Motel in a limited edition of 170 gatefold 180gram vinyl, CD and digital formats.  'Settlers' was mastered for vinyl and digital by Taylor Deupree, with master lacquers cut by Roger Siebel at SAE.  The first 50 Vinyl & CD's ordered come with a bonus EP, 'Generations' mastered by Kirk Marrison of Kiln.

In the dry desert of Arizona that Lost Tribe Sound calls home, a letter is received from guitarist René Gonzàlez Schelbeck who’s eager to share a collection of intimately composed songs, titled 'Settlers'. Upon listening, we are immediately enthralled. There’s a timeworn, arid, and almost badlands quality to Schelbeck’s hypnotic, cyclical guitar style. It seems to perfectly capture the lonely, barren landscape of the American West. 

Yet, there are curious dynamics at play here as Schelbeck, who makes music under the alias Western Skies Motel, is from Denmark and far removed from any upbringing in the rough-hewn Americana style of folk guitar. Conceivably, his music has more in common with the lonesome, calculated tone of Berlin's modern classical scene or the rainy day folk of the UK. Those are intriguing parallels, since the collective mood of Western Skies Motel's music would adapt so well to either environment. 

Words hardly do justice to the rich, immersive experience of 'Settlers'; yet a few may help to set the stage. Schelbeck is a remarkably well rounded instrumentalist, who spent his early days losing his hearing in local punk rock bands. This youthful love for walls of sound and discordant guitar squalls survives in his modern sound palette. However, a more mature approach to these techniques brings moments of palpable tension, adding in uneasy waves of guitar feedback and droning harmonium. 

But ultimately, the truth of what Schelbeck hopes to convey through his music may rest rmly in his subconscious. In hindsight, 'Settlers' is about moving between worlds: not in the dimensional sense, but more as a constant change in form. Each influence and sound Schelbeck incorporates into his music feels native to the delicate ecosystem of these songs and each turn feels as organic and nuanced as that of the natural world. Just as a tree’s leaves wither and fall; a fire sparks and expands only to expend its last bit of fuel, extinguished and left for ash. So true are the parallels we find in our own existence, the complex ritual of growing old and returning to dirt. Decay is inevitable for all life, yet through this it becomes the rich soil for all things proceeding. Western Skies Motel's weighty instrumental mantras may root in this and other meanings yet to be culled. One thing is clear, this music contains signicant power, and, regardless of our conceived themes or geographic locations, it tells a story that is lasting and instantly familiar. 

'Settlers' sees a 180-gram heavy weight gatefold release very similar to the recent Mute Forest debut, 'Deforestation'. The acetate and test pressings were scrutinized for anomalies on world-class vinyl setups at Arizona’s esteemed audio dealer, Arizona Hi-Fi.

Western Skies Motel is building upon a busy year in 2015, having released two very different full-length albums 'Prism' (Preserved Sound) and 'Buried and Resurrected' (Twice Removed).

Settlers

Whirl

Buy Album

Western Skies Motel - Whirl (from Settlers)

Digits

From the album: Panoptique Electrical - Disappearing Music For Face

Physical copies and digital downloads available here:
https://soundinsilencerecords.bandcamp.com

Sound In Silence is happy to announce the return of Jason Sweeney and his Panoptique Electrical project, presenting his new album Disappearing Music For Face.

This is his second release on the label after last year’s, already sold out, debut album of Great Panoptique Winter, his collaboration project with Richard Adams of Hood and The Declining Winter.

Panoptique Electrical is both an experimental studio project by Jason Sweeney, based in Adelaide, Australia, and instrumentalist collaboration with electronic and classical musicians Zoë Barry, Jed Palmer, Tristan Louth-Robins, Cailan Burns, Noah Symons and Richard Adams and visual artist Steve Phillips.
While in the last decade Jason Sweeney has made Panoptique Electrical his central focus, for about twenty years he has been composing and recording either solo, under the alias of Other People’s Children and Simpático, or with friends in various musical projects like Pretty Boy Crossover, Sweet William, School of Two, Luxury Gap, Par Avion, Madeline’s Wreath, God Burning System, Great Panoptique Winter and Mist & Sea. For almost a decade he has also been composing sound and music scores for live theatre, dance, film/video and installation projects.

Disappearing Music For Face is another outstanding release from Panoptique Electrical that generates many emotional reactions. It’s a collection of eleven brilliant compositions of gentle piano with small touches of minimalist electronic beats, echoing keys and soft swells of heavily reverbed drones. The beauty of this album will truly captivate the audience of both ambient pioneers like Brian Eno and Harold Budd and artists like A Winged Victory For The Sullen, Labradford and mid period Hood recordings.

This is a limited edition of 200 handmade and hand-numbered collectible copies. It is packaged in a lovely hand-stamped 127mm x 127mm 260 gsm pale brown cardboard envelope with the front cover image printed on a polaroid style photo paper and two inserts with the tracklist and the credits printed on a 190 gsm reddish-brown cardboard. It also comes bundled with a download code coupon and a Sound In Silence card.

Panoptique Electrical - In A Forest Forlorn

"Ulenflucht" from Niklas Paschburg's debut EP "Tuur mang Welten".

"Tuur mang Welten" is available as 12" vinyl and digital download here:
bit.ly/2fJS97G

Tuur mang Welten

LP|DL

Niklas Paschburg - Ulenflucht

Pre-order 'Everything' on LP/CD, or buy now digitally here: http://phonofile.link/blb-everything

**The physical LP and CD only contain the carefully compiled 10 tracks by label founder Robert Raths, but will come with a download code to retrieve all 43 tracks digitally. **

Enter the all-encompassing universe of Everything, a score by Ben Lukas Boysen and Sebastian Plano – available worldwide via Erased Tapes on July 28th 2017.

Game creator David OReilly has built an interactive world for you to explore at your choosing. Whether you decide to take the role of a microbe inside a plant in the desert, or a star in the furthermost galaxy, each layer of the game is coated with ambience which takes the simulation even further into the limitless boundaries of each world. Composers Ben Lukas Boysen and Sebastian Plano have shaped this experience with their intricate 4-hour soundscape, alongside the continuous narration by philosopher Alan Watts. 

Though the score has an important part to play in heightening the atmosphere of the game, it has the capability of being a standalone album – carefully sequenced down to a 10-track selection by label founder Robert Raths. There is a considerably therapeutic quality about it, allowing the audience to transcend into a meditative state, which is what makes it a perfect partner for Everything. The music is a whole world of its own, yet part of the game’s universe.

Words from Ben and Sebastian, April 2017:
 
“Composing something quite modular yet coherent that connects with the idea and fabric of the game was quite a task. We discussed many approaches, from really mathematical and direct, to abstract and philosophical, and we ended up with a mixture of both. Every element depends and builds on another and connects to previous and following songs. May it be on a compositional or on an abstract and conceptual level, the game and the music follow the same path and shares almost the same inspirational DNA.“ — Ben Lukas Boysen

"Working on the soundtrack has been a truly inspiring collaboration. What fascinates me about the game is the self-exploratory approach it allows the player to experience; there is no purpose other than just being. This concept gave us wonderful freedom in searching for sounds and ideas that would fit the game. Throughout the score there is a subtle level of drama which gives depth to the game, yet the music never becomes predominant taking the player away from the main experience of being anything. Honest, simple and beautiful, Everything has been a rewarding creative journey to contribute to." — Sebastian Plano

The cover image features multiple components of the Everything universe, meticulously pieced together by David OReilly himself, in collaboration with designer Torsten Posselt at FELD.

“Creating the score for Everything was a colossal undertaking. Its scope is as wide as the game itself. The music encompasses a vast range of sound and texture, held together by the immense skill and talent of Ben Lukas Boysen & Sebastian Plano. Together they created an extraordinary library of music which gives this game great dignity and depth, and elevate the experience beyond what I could have imagined.” — David OReilly

Track listing:

1. Opening		
2. We're Here
3. Winding And Unwinding
4. Eisenach
5. An Infinite Day
6. Opening Light
7. Aalystice
8. Inside Air
9. After Our Efforts
10. Reaching Light

Watch the game trailer here: https://www.youtube.com/watch?v=JYHp8LwBUzo

Ben Lukas Boysen & Sebastian Plano - Winding And Unwinding

Aaron Martin’s album "A Room Now Empty" sees him returning to the memory-based recordings of previous albums such as "Almond", "River Water" and "Chautauqua", where layered meanings in the music and titles don’t allow a single clear-cut reading of the music.

“A Room Now Empty is similar to the concept of Day Has Ended where Christoph Berg and I created music to encompass the passing of a day, but stretched out for the passing of a lifetime or at least a portion of a lifetime,” says Aaron.

Using cello, electric guitar, bass, roll up piano, banjo, concertina, acoustic guitar, voice, ukulele, singing bowls and lap steel, "A Room Now Empty" keeps the same intimacy and directness of Aaron’s previous albums, with a slightly more processed sound creating distance within the music.

All music by Aaron Martin

cello, electric guitar, bass, roll up piano, banjo, concertina, acoustic guitar, voice, ukulele, singing bowls, lap steel

Silent Figure with Landscape LIX by øjeRum

Mastered by Ian Hawgood

www.preservedsound.com

Depth of a Glance

Olafur Arnalds and Nils Frahm - Live in Berlin - 2011

Listen | Download

Liebeskid - In Your Eyes I Look Bigger (Hannes Kretzer Remix)

In search of the perfect acoustic mirror for his perception of the world, Hannes Kretzer started to collect and distort sound effects until they fit into his mental universe at an early age. Synthesizer pioneers from the 70s were his first spiritual companions on his experimental exploration with sound.  From the beginnings in meditative ambient grew an equally strong fascination for straight-forward pop culture.  Intrigued by the idea of bringing together these contrasting worlds, Hannes Kretzer embarked on a new journey to incorporate a sense for dynamics, evolving structure, juxtaposition and space into his new creations.

Dive Mix

Hannes Kretzer

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