Fascinating and skilled combination of sounds!

I feel that this music is between the heart and the brain, a heart that plays on the rhythm and a brain that is confused

added this to my personal favorites playlist. Nice work. Lovely. 

Incredible song! Always love the combination between the delication of the piano, with the glitchy percussion. Any chance of download it?

Musique du début d'In/Somnia, spectacle des Attentifs mis en scène par Guillaume Clayssen et écrit par Thierry Simon.
Première au Relais Culturel d'Haguenau, le 09 novembre 2021.

In:Somnia

Taken from David Colohan & Richard Moult's upcoming collaborative album 'Branded By Constellations' on Fluid Audio...

...........

One breath spanning a thousand years
Took the eremite's boat
To raise his cell upon the rock

To where star-spread crossings mirror tracks
Woven to a moorland shrine

And where the stars change places with the falling snow:
A net of light to sail his Earth by.

...........

*Release date: November 2015

www.fluidaudio.bigcartel.com/mailing-list


Mailing list

David Colohan - As The Stars Change Places With The Falling Snow

Opening track + track two from the ambient album 'This is soon too late'. 
FDL#05.

Support independent music?
www.federleicht.be

Herbstlaub - Tijd als beloven / Du nahmst ganz einfach meine Hand (FDL#05, 2016)

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)

Ocoeur - Progression (Field Rotation Rework)

Harnes Kretzer: Rhodes piano, effects
Christian Pensel: Cello, guitar, flutes, lofi keyboards, effects

Mixed and mastered by Hannes Kretzer
Cover design by Melanie Kretzer
Cover artwork by Azenoire

Ohrenbetäubende Stille - Vorhalt

By the look of it everyone is identical....

'Long May It Sustain' will be released on Erased Tapes' 10th-anniversary compilation: 1+1=X, on April 21st as part of Record Store Day UK. We hope you enjoy...

A Winged Victory for the Sullen - Long May It Sustain (ET, 2018)

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

Meander scars are geological features formed by the remnants of winding or meandering water channels. They are caused by the varying velocities of current within the river channel.

Lost Tribe Sound's second installment in its 8 album subscription series, 'We Stayed The Path That Fell To Shadow' comes courtesy of friend, musician and talented music writer, Gavin Miller. While his name may not be instantly recognizable to some, Gavin has been creating music for nearly a decade as one half of the sublime electronic ambient duo, Worriedaboutsatan, and has quite a few solo releases under his belt. In addition, Gavin has been a invaluable force in bringing many overlooked musical acts to the forefront through his brilliant writings for the UK publication, Drowned in Sound. 

'Meander Scars', Gavin's new double album is very much a departure from his previous output. While the use of acoustics has always resided in the backdrop on many of his solo and group efforts, it's plain to hear that with 'Meander Scars' these natural elements have risen to the top. Lost Tribe Sound is the ideal home for a Gavin Miller this delicate and organic. 

The aerial visuals formed by meander scarring and the origins of their creation, fit both the artwork and the vibe of music incredibly well. The long-form compositions were constructed from a series of slow churning rhythmic guitar loops, warm noise, soft synths and distant choirs which build over time into colliding patterns of pastoral bliss. Patient and mindful listening is key for these innocuous sounds to begin to carve their saturated pathways through the mind. Much like a river meandering over thousands of years, slowly dragging away the sediment and scaring the surrounding land, these pieces begin to take form, eroding away the malleable earth, letting gravity take hold to travel the course of least resistance.  

Being the ever curious and meddling types here at LTS, we engaged multi-instrumentalist and label mate Aaron Martin (From the Mouth of the Sun) to utilize his gorgeous cello sounds and other odd bits in his musical arsenal to fill out moments in the songs. Graciously, Aaron joined in, adding trembling washes of strings, chimes and other indiscernible noise to Gavin's compositions. Gavin than revisited his original material, carefully layering and balancing in the new instrumentation from Aaron. 

Excited by the results, Gavin shared them with us, and it was undeniable that Aaron's arrangements had created deep new conduits for the ears to follow. Yet, it wasn't until this moment that we fully appreciated the beauty of the original works. Torn by which versions to present as the final album, we realized why not present them both.  

Each version had a seemingly different affect on our conscious. The 'Upper Course' with Aaron Martin's additions, flows very much like a young river, faster, more active and commands the listener to be more attentive. Whereas, the original source material of 'Lower Course' mimics the behavior of an older river, slow flowing, in moments coming to a crawl. It's no longer the force able to move large boulders from its path. Yet in its stripped down form, it allows the listener to more easily traverse its tame currents, becoming the perfect cyclical backdrop needed for writing, drawing, and a multitude of other tasks requiring increased mental faculties.

Meander Scars

Upper Course I

Gavin Miller - Upper Course I (feat. Aaron Martin)(from Meander Scars)

Available here:

https://www.fluidaudio.co.uk/product/the-seaman-and-the-tattered-sail-standing-on-the-precipice-of-tears

Taken from the upcoming album 'Standing On The Precipice Of Tears'...

Tattersall played Guitar, piano, dusted loops, analogue loops, digital loops, drum machine, analogue synth, synth bass, field recordings, abstractions, fragment constructions and reconstructions, abstractions of Seaman (etc.), analogue spatial recordings, artificial wind, crackles (record surface noise), tape noise.
 
Seaman was working primarily with Ableton Live and contributed vocal, Piano, time abstractions, violin and viola samples, trumpet samples, clarinet samples, drum machine abstractions, drum machine constructions (samples), digital distortions, bit reductions, synth abstractions, abstractions of Tattersall (etc.), digital loops, radical pitch shifts, noise enhancements, historical samples, crackles – record surface noise (from Tattersall), artificial crackles.
 
Solo Viola – Emmanuel Witzthum
Solo Violin – Wei Ping Lin (on Uncovered CDs)
Additional Voice - Emmanuel Wizthum
Trumpet (sample recordings) – Robert Ellis-Geiger
Vocal recorded in The Emergence Lab by Seaman using a Roland Edirol R-09HR Ver.3.0

www.fluidaudio.bigcartel.com/mailing-list

Standing On The Precipice Of Tears

The Seaman And The Tattered Sail - Standing On The Precipice Of Tears

This album is a collection, raw and spontaneous, and the fruit of 15 days of artistic residency in the beautiful setting of La Becque, La Tour de Peilz (CH), in partnership with Françoise Siegfried Meier Foundation and the Montreux Jazz Artist Foundation.

A setting in which I was able to express myself, on grand piano and essentially on prepared piano, with introspection and escape.


This logbook is intended to be raw, spontaneous and representative of the immersive moments I have experienced.
Some improvisations are therefore presented, such as the themes "Memories", "Serenity 1 and 2", "La Becque", or experiments ("overdrive", "rework")
The theme "Mrs. Siegfried Meier" is a tribute.

Memories is also composed for PianoDay 2019.

Memories (Rework)

Julia Gjertsen & Nico Rosenberg's newest record Distant Fields is a study in wide open spaces, both literally and figuratively - the two musicians wrote and tracked these pieces in their home studios on either side of the Atlantic, never having met in person. Together they've weaved a stretched out / slowed down sonic universe, full of softly warped textures that evoke the vast expanses between them...

Distant Fields is out now on all digital platforms : orcd.co/distantfields

@juliagjertsen @nicorosen

Distant Fields

Ekte

Buy 'Distant Fields'

Julia Gjertsen & Nico Rosenberg - Ekte

and if a piano did not ring as a piano...
contact : hojde_booking@yahoo.com

UPCOMING:

03/10/2019 - Lyon - Horizons x Convergence invitent Noon & HØJDE
14/09/2019 - Fribourg - Festival Les Digitales
02/08/2019 - Grignan - Festival Vallée Electrique,
28/07/2019 - Moulin - Festival Chateau Perché,
11/07/2019 - Montreux - Montreux Jazz Festival,
04/07/2019 - Vienne - Festival Jazz à Vienne
21/06/2019 - Lyon - Atelier Robert Thouret,
08/06/2019 - Retiers - Festival XXXV,
01/06/2019 - Vernoux en vivarais - Festival Vernoustock,
11/05/2019 - Lyon (Atelier Roebrt Thouret)
14/04/2019 - Lyon (Trait d'Union - Connexion 1)

more soon ...

PAST:

2018

14/12/2018 - Spazio O' (Milan, Italy)
11/12/2018 - Palazzo Trevisan (Venise, Italy)
11/11/2018 - Istituto Svizzero (Rome, Italy)
26/10/2018 - Atelier Robert THOURET (Lyon, France)
01/09/2018 - Les Digitales Festival (Lausanne, Swiss)
11/08/2018 - Redirection Jangala Festival (Stuttgart, Germany)
21/07/2018 - Festival La Vallée Electrique (Montélimar, Drôme)
14/07/2018 - Montreux Jazz Festival - Talent Awards
23/06/2018 - Le Vent se lève 2 (Sarrians, Vaucluse),
16/05/2018 - Art&Vibes Festival (Saint Etienne, Loire),
10/03/2018 - Festival "Le vent se lève" (Sarrians, Vaucluse)
29/03/2018 - PianoDay 2018, Obamo Café (Lyon)

2017

22/11 - Festival Riddim Collision/Nuits Noires (Lyon)
27/10 - Live Set, Obamo Café (Lyon),
23/07 - Harmonic Festival (Trigance, var)
21/07 - La Vallée électrique Festival (Drôme)
02/07 - Karma Atma Festival (Hérault)
08/04 - LiveSet, La Loupika (Lyon), w/ StationEcho
18/03 - LiveSet, Ninkasi Kafé (Lyon), w/ StationEcho
04/03 - LiveSet, La Marquise (Lyon), w/ Lux's Dream

2016

15/12 - LiveSet, La Marquise (Lyon)
25/11 - Piano Décalé Festival (Lyon), w/ Lux's Dream
28/10 - Vallée de Sahmain Festival (Drôme)

Memories (Rework)

HØJDE

Recent comments

Hossein.370

Palatinus

FWODY

Jo Nauversen

Related tracks