Superb! What a beautiful blend of moving and emotional sounds

© 2021 OSCARSON

All music written, produced and mixed by EDWARD SIKORSKI

cello SEBASTIAN SELKE
drone guitar PHILIPP FRIESEL
piano | reed organ | synthesizer | fx EDWARD SIKORSKI

mastered by The EmU

Laika

Full stream of Data Trails by Imprints, released on Serein, April 2014. www.serein.co.uk

Imprints are Shaun Crook, Darren Clark and Alex Delfont

Imprints - The Sea & Electricity

'Entanglement' is out on April 13, 2015.
Pre-order CD/LP/DL via Erased Tapes:
http://www.erasedtapes.com/store/index/ERATP067
Or via iTunes: http://geni.us/entanglementitunes

“No click tracks, no headphones, and no film. Just the spontaneity of performance and the sound of musicians hearing, connecting and responding.” 

‘Entanglement’, the debut album by Michael Price fulfils his long-term desire to explore new musical territories, featuring Michael on the piano, with the addition of cello, soprano voice, string orchestra, modular synth, tape effects and electronics.

Throughout the record you will hear street sounds from 'Budapest' captured and processed on Michael’s mobile phone, as well as chamber music recorded direct to tape with vintage microphones in single takes. Album track ‘The Attachment’ was partly recorded onto a 1940s magnetic disc recorder, which immediately connected the piece back to a pre-digital musical age.

The cello and soprano vocal parts throughout the album were written specifically and directly for cellist Peter Gregson and vocalist Ashley Knight, whose expressive voice features on tracks ‘Maitri‘ and ‘The Uncertainly Principle‘. The lyrics for both songs are Japanese poetry sung in English, dealing with age, loss and the inevitable fading of beauty.

‘Entanglement’ was written over a period of two years on paper and by hand with Michael exploring oldest and newest technology at Abbey Road Studios and Snap Studios in London, before most of the recording and mixing took place at Vox-Ton in Berlin.

“I wanted to make an album that sounded like a dark, Berlin record store discovery from the 30s. Something that had timeless emotive power, and pre-digital rawness. Something that I hope would make a deeper connection in superficially networked times. I think there is a duty for artists to be honest, and vulnerable. Because then there is a possibility of real connection. Entanglement is both honest and vulnerable and to go through the two year process of writing, refining and recording an album has been more intense and more beautiful than I could have possibly imagined.

Entanglement is a very personal expression of my obsessions: music, love, physics and the inter-connectedness of things. There is structure and freedom, chaos and control, and the beauty of ancient instruments set against impassive machines." – Michael Price

ABOUT THE ARTWORK: Resembling the inter-connecting parts, the cover art for ‘Entanglement’ was created by South London artist Supermundane, with the packaging’s layout done by long-term Erased Tapes-collaborator Torsten Posselt at FELD in Berlin.

TRACK LISTING:

1. Tape Overture 2. Easter  3. Little Warm Thing 4. Budapest  5. The Attachment  6. Maitri  7. Digital Birds  8. The Uncertainty Principle 9. Entanglement

erasedtapes.com · michaelpricemusic.com

Entanglement

Budapest

Michael Price – Budapest

Amblin

From the album "In-between Spaces" by Porya Hatami & Darren McClure.  To be released on txt recordings in October.  Pre-orders are available now.

http://www.txtrecordings.co.uk/
https://darrenmcclure.bandcamp.com/album/in-between-spaces

Meridian

from 'Landscapes of the Unfinished' [CD|LP|DIGITAL]
Denovali Records · den251
available on all formats at [http://denovali.com/pianointerrupted]

Recorded partly in Senegal with local musicians playing traditional instruments, "Landscapes Of The Unfinished" is Piano Interrupted's 3rd album for German experimental label Denovali.

This album sees pianist Tom Hodge and “electronician” Franz Kirmann explore a more introspective approach to their sound. The sonorities and recordings the pair brought back from West Africa are deconstructed, mangled and texturised, turned into a pointillist landscape until only a faint and distant souvenir remains.

These beds of pulsating soundscapes and earthy textures serve as base for Hodge’s delicate piano phrases and intricate compositions, interlaced with long-time collaborator Tim Fairhall's fluid double bass playing.

Harsher territories are also visited during the 9 tracks that compose the LP; fuzzy Senegalese radio voices and the distant memory of African percussion collide with distorted bass and buzzing drones or screaming textures battle with screeching double bass sounds and tortured piano strings.

The overall tone of the album reflects the duo’s desire to musically translate the experience of the Dakar trip (where Franz Kirmann grew up), but also to break away from the first two albums' intricate programming and editing and instead go towards a writing and recording experience directly inspired by their live experience. Hodge’s clarinet, an important facet of the Piano Interrupted live show, is captured on record for the first time. 

This surge towards documenting a moment, leaving a trace or examining something concrete is further reflected in the choice of titles (all named after the musicians who took part in the recordings) and also the design, which is for the first time a photograph. Taken by filmmaker Cath Elliott, who travelled with the pair to Dakar to document the process, the album artwork captures one of the numerous half-built structures, infinite and abandoned, surrounding the studio in the suburbs of Dakar, and provides both an unfinished urban landscape and yet when viewed as a single moment in time, one of many compellingly complete landscapes of the unfinished.

Landscapes of the Unfinished

Piano Interrupted - Abdou Kadre

Buy Album: https://seabuckthorn.bandcamp.com/album/i-could-see-the-smoke

Lost Tribe Sound releases ‘I Could See The Smoke', an EP from UK guitarist/multi-instrumentalist Seabuckthorn, the EP is available on a limited cassette tape edition and digital. Since the recent success of guitarist Western Skies Motel’s album ’Settlers’ in April, the tribe has hit the jackpot this year signing another of the most interesting guitarists around. Andy Cartwright who records under the name Seabuckthorn came to our attention last year, after a wise suggestion from composer William Ryan Fritch with his full-length album, ’They Haunted Most Thickly’ on the admirable French label, Bookmaker Records. After taking a deep listen, the awe set in. Could this be the missing link between the bombastic, world building intensity of William Ryan Fritch and the sublime, droning meditations of Western Skies Motel? 

Seabuckthorn’s unique breed of guitar-based compositions have the ability to shift gear with such natural ease. Cartwright wields his weapons wisely, choosing a minimal, yet powerful arsenal made up of various twelve string guitars, a well worn resonator guitar, and deep accents of percussion. We hesitate to single out a particular style in the case of Seabuckthorn, as it rests comfortably alongside many genres. Americana and British folk are easy tags. The music also borrows from modern classical and drone. At times, even subtle cues of the Middle East enter the picture. Yet something more ancient is at work here, that recalls the minstrels of old, or the seafaring hymns of a long forgotten civilization. At times, the music comes full force, like an intense hunt through darkened woods, unleashing the resonator like half-tamed hounds, wild and relentless, a sickly horn-like sound rises from haze, a claustrophobic dread setting in the mind of the prey. In other moments, Cartwright's music plays with subdued, visceral tones that immediately fill the mind with imagined, yet familiar scenes: the hushed ember-lit nocturne for a desert at dusk; or the weary basecamp reveries at the summit of impassible cloud-capped mountains. 

Cartwright notes in his own words that, "'I Could See The Smoke' is an arrangement of ideas gathered whilst on a European tour throughout June 2016, along with a couple of older songs I've been playing live for a year or so. After the tour, I returned home to Bristol eager to strike while the iron was hot and try to capture these compositions. Recorded & mixed over a period of two weeks whilst feeling the heat (both literally & politically) I opted for a threatening, even apocalyptic EP title. Saying that, I think most of these songs can offer up a tranquillity to counteract the gravity of these uncertain times, a calm inside the eye of a storm."

Mastered by William Ryan Fritch

I Could See The Smoke

Overgrown Courtyard

Buy Album

Seabuckthorn - Overgrown Courtyard (from I Could See The Smoke)

"Disquiet" is a benefit compilation of ambient artists, across multiple volumes, with 100% of the proceeds being donated to non-profit organizations that support the environment, investigative journalism, women and minorities. The compilation features many previously unreleased tracks and tracks composed exclusively for the collection. Released soon.

0:00 Balmorhea - Natural World

0:30 Ben Lukas Boysen - Kentograph (Short Version)

0:56 The Album Leaf - AW 11316

1:30 Mint Julep - Longshore Drift

2:00 Eluvium - Windmills

2:34 Windy and Carl - For End of 2016

3:08 Synkro - Transition

3:40 Benoit Pioulard - Home Taping Billowed Edge

4:10 Helios - Within

4:50 Christina Vantzou and John Also Bennett - Chione

5:40 Hammock - In the Shape of Longing

Disquiet Volume 1 Sampler

Full stream of 'As The Light Dims' by The Greatest Hoax. Taken from the album 'Expiration Compositions' forthcoming on Serein (June 23rd, 2017). The album will be out on CD, Vinyl and digital formats.

As The Light Dims was first premiered by self-titled magazine on May 9th, 2017.

“Expiration Composition is not just an album about death; it reflects a sense of happiness for one’s life. The subject is often heavy, but my intention is to encourage listeners to appreciate their lives knowing they are finite.” – Taylor Jordan (The Greatest Hoax)

Expiration Compositions

The Greatest Hoax - As The Light Dims

A Score for Darling

Erik K Skodvin & Rauelsson - The Return

Phil Tomsett is a UK based sound artist, composing organic, ethereal and impressionistic ambient music for labels such as Home Normal and Fluid Audio. As The Inventors Of Aircraft, Tomsett has also put out records on Time Released Sound, Serein, whitelabrecs, Rural Colours, Audio Gourmet Netlabel and hibernate. If the aesthetic of the mentioned imprints evokes a particular sonic response in your awareness, then you shall know what to expect from his new release. Joined by Aaron Martin for the cello accompaniment, and a touch of Ian Hawgood's reel-to-reel analogue mastering, The Sound Of Someone Leaving is a sombre requiem for the empty spaces left behind by a presence fleeting in time. "Absence is powerful. When someone isn’t there anymore the empty space is charged with emotional power. As if the act of vanishing leaves behind an ethereal, supernatural signature." Tomsett impounds that signature with a combination of the layered and looped arrangement of synths, strings, and choral vocals, which draw on the memories, moments, and sense. Today I am sharing with you an exclusive premiere of a title track from the album, which captures the essence of feelings and tone.

The Sound of Someone Leaving will be out on Fluid Audio in September of 2020, packaged as usual, as a beautiful bespoke limited edition, designed by Dan Crossley with illustrations by Craig Tattersall. Pre-order your copy here: https://fluidaudio.bigcartel.com/product/phil-tomsett-the-sound-of-someone-leaving

The Sound Of Someone Leaving Promo mp3

The Sound of Someone Leaving

TRACK PREMIERE : Phil Tomsett - The Sound of Someone Leaving (with Aaron Martin)

some original solo piano pieces...  some mixes from my podcast... some exclusive track premieres...  and some tracks from the albums I review for Headphone Commute... Enjoy!

TRACK PREMIERE : Phil Tomsett - The Sound of Someone Leaving (with Aaron Martin)

Headphone Commute

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