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Sodalith

Descend into darkness with "Scorched Earth: RPG Music Collection." This collection of 8 handcrafted tracks provides the perfect soundtrack for your RPG adventures into the depths of shadow.

Created by our producer Pathum (no AI used), this music features a blend of dark orchestral scores and driving rhythms, capturing the intensity of monster hunts and the grim reality of a world on the brink. From shadowy dungeons to desolate wastelands, these tracks will enhance your game's world and inspire your players to confront the darkness.

Perfect for:

Game Developers: Enhance your fantasy RPGs, MMORPGs, and adventure games with these dynamic and evocative soundscapes. Ideal for any game that features monster slaying, dungeon crawling, and dark fantasy themes.
Content Creators: Elevate your live streams, videos, and podcasts with these dramatic and intense sounds, setting the perfect mood for your audience.
Features:

8 unique tracks.
High-quality audio for optimal immersion.
Royalty-free license for use in your projects.
Perfect for creating a sense of danger, intrigue, and the struggle against overwhelming odds.
Price: $19.99

Confront the darkness with "Scorched Earth: RPG Music Collection."

7 - Phat Phrog Studio - Scorched Earth - Ashen Wings

Off "Punctuations Of Joy And Despair" album by Nuances.

Nuances - Together We Lie

Body Consonance

BYRON WESTBROOK - What We Mean When We Say Body Language

Prescott Circle Percussion - Bad Times

A2 from "On The Lands Of Mercy" CS. 
Pre-order at https://male-activity.bandcamp.com/album/on-the-lands-of-mercy
Release : March 22, 2018 on Male Activity

Appropriate Savagery -  Poisoned By Disgust And Boredom [Male Activity]

Selections from 100 Models of Hegikan Roku is the second in an ongoing series of archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows last year’s Selected Early Keyboard Works and anticipates Blank Forms’ publication of Poësy Matters and Other Matters, a two-volume collection of Hennix’s writing.

Upon her return to Sweden from New York in 1971, Hennix sought to form a large ensemble inspired by her encounters with La Monte Young and recordings by the Theatre of Eternal Music. She enlisted her brother Peter Hennix, Hans Isgren, and a dozen Swedish jazz musicians she had previously worked with, naming the group and its pieces of music after the time and days of the week according to the Angus Maclise calendar (e.g. “The Pointed Time Bus”). Frustrated with the jazz musicians’ inability to comprehend and play the intervals of just intonation, she pared the group down to the trio of herself, her brother, and Isgren and christened the live-electronic ensemble The Deontic Miracle. 

In 1976 The Deontic Miracle performed Hennix’s original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer’s Lattice at the Moderna Museet in Stockholm. With Hennix on amplified Renaissance oboe, live electronics, and sine wave generators, her brother on amplified Renaissance oboe, and Isgren on amplified sarangi, the recordings presented here of the group’s first and only public concert see them channeling late period John Coltrane and the sopranino and soprano saxophone playing of La Monte Young and Terry Jennings in the Theatre of Eternal Music. With titles taken from Japanese Gagaku, “Music of Auspicious Clouds” and “Waves of the Blue Sea” are expansive drone improvisations, breathing with the pulsating lull of cicadas’ organic sonic latticework. Now accessible for the first time, these recordings by what Hennix has called “the most rejected band ever formed in Sweden” continue to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.

Catherine Christer Hennix (b. 1948) started her creative career playing drums with her older brother Peter growing up in Sweden where she saw jazz luminaries such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform at the Golden Circle. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she helped develop early synthesizer and tape music. After traveling to New York In 1968, she met Fluxus artists Dick Higgins and Alison Knowles and developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath, and she would later study intensively under him. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage. She currently resides in Berlin, Germany, where she is active as a composer and writer.

The Deontic Miracle: Music Of Auspicious Clouds (excerpt)

Pierre Bastien orchestrates his meccano marionettes on Tinkle Twang ‘n Tootle to form the charming imaginative ensemble that he’s been known for since the late 80s. 

Equal parts composer, inventor, mechanic, and performer - Bastien translates his imagination into instruments and compositions that defy any musical categories. Whether it’s preparing instruments like playing a trumpet underwater or through a kazoo, using belt-driven motors and mechanical components to perform cumbersome yet surprisingly musical operations on traditional instruments and household items, or using a fan to hit the strings of a kundi harp with flowing paper - Bastien’s love for tone, rhythm, noise and harmony is poetically reflected across his quite extensive oeuvre. 

Playful and melancholic, the sound sculptures that Bastien invents and plays with are partly inspired by the work of Raymond Roussel, a visionary French author who at the turn of the 20th century wrote a unique form of literature which inspired and guided artists from the surrealist and pataphysical movement and was declared by Michel Foucault as one of structuralism's founding fathers. On that note, the influence of literature and syntax on Bastien’s work cuts all the way through to the palindromes he uses for his track titles - which, much like his machines, infinitely loop. 

True to it’s adorable title, Tinkle Twang ‘n Tootle is a music box of unfolding whimsical structures, half broken rhythms, detuned harmonies, and fantastical sound collages that evoke a childlike sense of wonder and an urge to explore the spaces in between the sounds.

Tinkle Twang 'n Tootle

Pierre Bastien - Pet Step [from Tinkle Twang 'n Tootle]

@kabinw
info: https://radio.syg.ma/episodes/guests-98-air-krew
https://airkrew.bandcamp.com

GUESTS 98 – Air Krew

yes, original materials created by airick asher woodhead, who also works on the @doldrumss project, this is all original material, with collaborations involving @ylangylang, @leeparadise + @caitlin-wellfleeohbrien ! /// for broadcast on @radiockut show free city radio, accompanying photo by toni dimitrov from @postglobaltrio in macedonia, photo is mountains in macedonia.

BYRON WESTBROOK - What We Mean When We Say Body Language

Hands In The Dark

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