only doges pls

advantageous spiders

safe song safe

Radio Far Oeste Playlist Part. I

The seminal ambient album from The KLF... 
A1   Brownsville Turnaround On The Tex-Mex Border  1:47  
A2   Pulling Out Of Ricardo And The Dusk Is Falling Fast  1:29  
A3   Six Hours To Louisiana, Black Coffee Going Cold  3:01  
A4   Dream Time In Lake Jackson  2:35  
A5   Madrugada Eterna  7:40  
A6   Justified And Ancient Seems A Long Time Ago  1:08  
A7   Elvis On The Radio, Steel Guitar In My Soul  3:01  
B1   3AM Somewhere Out Of Beaumont  9:24  
B2   Wichita Lineman Was A Song I Once Heard  5:56  
B3   Trancentral Lost In My Mind  1:16  
B4   The Lights Of Baton Rouge Pass By  3:34  
B5   A Melody From A Past Life Keeps Pulling Me Back  1:41  
B6   Rock Radio Into The Nineties And Beyond  1:26  
B7   Alone Again With The Dawn Coming Up  0:16  


The KLF - Chill Out

Noise Matter

sa_0tarM_1

i forgot the original was 14.31 and thats the actual title so might as well stretch it i wanted to see how it sounded that slow and with the ticks slowed down too. 

Global Communication - Obselon Minos (µ - Ziq Remix) (Re - Edit 3: 14.31 Smooth)

sa_cl158a2

vns163

on https://www.reddit.com/r/boardsofcanada/comments/3he3fh/sega_genesis_music_that_sounds_straight_out_of/ IGlima posted how part of the skeleton krew soundtrack sounded pretty spot on like boc.. i had a play with it tried to make it a bit more ambient

cloned a few tracks under the original and had bass boost, echo and reverb on them. then put through paulstretch without stretching them just blurring by 2 - 4 seconds..

Skeleton Krew {ambient megadrive edit}

loved this track https://soundcloud.com/adamintilia/burning-into-time-2010 wanted to hear it blurred at first and gradually getting more intricate and detailed

Adam Intilia - Burning Into Time (sevenism blurring into time mix)

DOWNLOADABLE

An early mix of an upcoming track on the new album. This version is fairly incomplete compared to the future album version, since only one section is similar to the new version, and the melody is pretty different all the way through. But this one I still like regardless. It's fun to occasionally make two versions of the 'same track' that are pretty different.

I'm interested to see what people think of this early version, then see what they think of the final version. I'm curious to see if people will like this early version more than the final track, or if even more people might. Though I doubt this ;)

Mariana (Early Mix)

From the album 'Lisova Kolekciya'. Due for release 10th November 2017. Pre-order standard LP and special editions here http://skire.bigcartel.com/. Digital here https://skiremusic.bandcamp.com/.

Artist: SVITLANA NIANIO
Album: Lisova Kolekciya

Svitlana Nianio has been active in the Ukrainian and Polish underground music scenes since the early '90's both as a solo artist and a prominent member of the now disbanded avant-rock outfit Cukor Bila Smert (Sugar White Death). Her music draws on aspects of modern composition and traditional Slavic music, with songs and experiments from that early period culminating in the 1999 album Kytytsi (Koka Records, Poland). Prior to that in 1995, Nianio recorded Lisova Kolekciya (Forest Collection) live in a simple home studio setting with Olexander Yurchenko and Konstantin Nazarenko. 

Less indebted to folk tradition than Kytytsi, Lisova Kolekciya was performed using Casio keyboards, electronics, and voice, positioning itself more inline with Terry Riley's Shri Camel in its otherworldly reinterpretation of the ancient through modern means. Retaining aspects of traditional music in its use of spare instrumentation and haunting vocal melodies, this largely unknown album pushes at the edges of what folk music might be, resulting in music previously described as being "deeply rooted in primeval myths, creating a world of magic realism, in which the temporal dimension and the other world constantly move and permeate."

Issued here officially for the first time after an extremely limited private cassette edition handed out to friends in 1996 - where the recording was twinned with the album Znayesh Yak? Rozkazhi (Know How? Tell Me) - Lisova Kolekciya comes packaged in a full colour offset printed sleeve featuring artwork by Svitlana Nianio and is limited to 300 copies. 75 copies are housed in special edition thick board slip-cases handmade at Faraway Press and are available to order direct from the label only. Each edition features a unique and original painting made my Andrew Chalk to reflect the album and to compliment the standard edition cover artwork aesthetically. Letterpress texts and de-bossing techniques feature throughout the design.

Svitlana Nianio - Episode 6 (from the LP 'Lisova Kolekciya')

From Paris with love here comes mix 008 by Second Circle artist and friend D.K. (@d-k-music). Q&A (excerpt) here below.

www.musicfrommemory.com

MFM: Salut Dang Khoa, welcome to our podcast series. Had a nice summer?

DK: Hey! Thanks for having me. My summer was pretty cool, I was happy to play some nice festivals and gigs in Europe. I also had a little break to go on vacation with some friends in Marseille to enjoy the sea and the South coast of France.

MFM: Speaking about summer, your music has quite an exotic touch in which melody and percussion both seem to play a pivotal role. Where does that come from? 

DK: At the very beginning, it was simply inspired by the kind of house music I was listening to. But it changed through the years. I had a period when I was into industrial stuff, and I’ve been really inspired by the textures, by that sensation of mechanical groove and how the percussions were used. It kind of lead me to listen to the roots of music, and got into ritual sounds. Regarding the melodies, I don’t know man, it’s maybe because I’ve listened to too much R’n’B when I was a teenager haha.

MFM: But you're not a trained musician in one way or another? Like, can you read notes and play keys or other instruments maybe?

DK: I played violin when i was very young at the Rennes Conservatory of music for 6 years but it was a long time ago and i didn't practice since. I still can read notes but i'm super slow when it's about to play a musical score with other instruments now.

MFM: Would you say you have a D.K. workflow when in the studio?

DK: I like to have a precise idea of what I want to do before I start, even if it’s going to change completely during the process. Also, the shape of a track will really depend on what I’m listening to at the moment. I can easily get lost sometimes, producing something that is totally different of what I’m doing but I always learn some new technics. It’s a good way to find new ideas as well. Most of the time, I work on the same loop until I’m satisfied, almost all the elements of the track have to be already present on this loop, so I can have a vision of what it’s going to look like. Then, I know it will be easy to structure, edit and finish.

MFM: Interesting, for a lot of producers making arrangements seems a tough task or annoying burden even. What's your trick?

DK: I start with the  rhythm structure then focus my work on finding the main theme of a track,  and i build everything around it. If the beat and the  hook are strong enough it's usually not a tough task to make the arrangements.

MFM: You've been putting out music not only as D.K., how come?

DK: I decided to use that 45ACP moniker to focus my work more on sound textures and beats. It was maybe more heavy and club-oriented than what I used to do as D.K.. But now, I’m trying to combine everything in one project to create more contrast in my music. I’m generally interested by the opposition of textures and sounds in music. For instance, I like to mix raw percussion parts with clean drums or melancholic cold pads with naive midi melodies.

MFM: So, what can tell us about the mix? Any specific theme behind it?

DK: It’s a collage of tracks that I’ve been listening to at home recently and some edits I’ve made, from ambient and tribal to Japanese stuff. It’s obviously not what people can expect to hear me play in a festival or club but I would say that it’s more the vibe that I’m trying to create when i’m performing live.

MFM: Last but not least, any exciting news you'd like to share?

DK: I’m wrapping up my next Ep at the moment, it will be the third volume of my trilogy dedicated to club music on Antinote. I also have a release to come out soon on 12th Isle, and a couple of remixes.

MFM Mix 008: D.K.

Founder of the Blanik label and a member of the @groovedge Records crew, producer and DJ Spinelli @hormoilactg aka Esteve is a dj whose electric gesture marks a wild, unstoppable mix style between techno, jazz, experimental or house.
The fourth episode of @scenecityeu residency on @noodsradio is featuring this Lyon-based artist, in collaboration with @chezemile. Expect 90's electronic influences, jazz & house.
—
Artwork: Bureau Nuits www.bureaunuits.com
Mastering: @branksmusic

Scene city #04 w/ DJ Spinelli (30.11.19, Noods Radio)

SPW (q?)

ø,ø |pslitnglyfdry ummbosia

PurpleGreen Ft. Shrp

s8v1   [brooklyn]

Edited and remastered version of Habala, first published in 2018. 
Made with passion and modular synths.

Habala

habala

"Interstellar Magnetic Song"  Album N°14

2- After a Night of 98 Earth Days,

Music composed in my studio with my small means :-) A very "Spacial" album but not only. To be discovered, to be listened to, very often with closed eyes and if possible with headphones or very good speakers :-)

___🎹_____A_N_O_T_H_E_R___M_U_S_I_C_____🎹___

🛠 - Made with MOOG & Modular / Multi-tracks
🎹 - Composed, arranged, performed, produced by Pier WILL & Studio 4H09
🔲 - Artwork  -  Pier WILL
🙏 - Acknowledgements - Ableton, Arturia, Audacity, Cantabile, MSI, Focusrite, Korg, M-Audio, Sony, SoundCloud, Teac, Techniks, Yamaha.
⚙️ - #Ambient #Movies #Electro #Experimental #Minimal #Space 

❤️Love, 🕊️Peace, 🙏Respect

0$

工ᗪ爪匕〤