Voices - Alev Lenz
Piano - Lucy Claire
Violins - John Garner and Julia Loucks
Viola - Marie Schreer
Cello - Samuel Justitz

Recorded by Josh Green
Produced by Lucy Claire

Somnus Ft. Bruised Skies

Leave is the third album from Rasmus Rasmussen's ethereal electronic project Aerosol. Through the nearly six years that has past since it’s predecessor “Airborne”, Rasmussen has spent his musical efforts in acid rock outfit Causa Sui and as part of various constellations, playing alongside musicians from Sunburned Hand of the Man and legendary krautbands Can and Faust. These free-form psychedelic influences seep into the already recognizable style of hazy electronics, known from his own previous work as well as from the music of his colleagues in former band Limp (Manual/Syntaks). Cosmic sounds and psychedelic effects mingle with cascading guitars and kraut-infused beats on a collection of tracks that sends obvious nods to the German synth pioneers of the seventies, but is still unmistakably an Aerosol-album - an album set on beating emotions, moods and melodies out of old synthesizers, cheap drum machines and Rasmus’ trusty white Stratocaster.  RIYL: Ash Ra, Ulrich Schnauss, Manual, Vangelis, Boards of Canada, Emeralds, Cluster, Brian Eno.

Aerosol - Reach

'Echo In' is taken from Dilate (2015):
https://vesselsband.bandcamp.com/album/dilate



@rivalconsoles @erasedtapes

Echo In (Rival Consoles Remix)

from 'Nomad Frequencies' [CD|2xLP|DIGITAL]
Denovali Records · den237
available on all formats at [http://denovali.com/johnlemke]

An ardent moulder of sound, John Lemke began carving out a very unique music blend on his debut album 'People Do' (2013) and its follow up EP 'Walizka' (2014). Informed by his work as a sound designer & composer for documentary films and his natural inclination towards fusing rhythm with rich textures and emotive melodies, he set out on a musical path that had been long in the making and is ever evolving.

The quest for unusual, inspiring sound sources has always been at the heart of John's process, however the genesis of his second album 'Nomad Frequencies' was rooted in much more inadvertent circumstances. In the summer of 2014, forced to indefinitely evacuate his Glasgow flat and studio due to structural damage from one hour to the next, with nothing more than a laptop and a bag of clothes, John embarked on a six month odyssey of soul searching, couch surfing and spending an extended period of time in his old hometown of Berlin for the first time in years - it was to be an odyssey that would help ferment and distill the ideas of his second album on which work had just begun. 

A year of particular global turmoil and upheaval, combined with John's personal, albeit very minor, 'displacement', caused a lot of questioning, frustration and anger, which somehow found its way onto the new material: a more confrontational, at times aggressive sound, paired on the other hand with a yearning for harmony, balance and space. Other influences came less from the world of music, but rather in visual form, through the densely textural art of Anselm Kiefer and the political, yet poetic musings of film maker Adam Curtis.

Intent on refining his sound toward a more minimal, bolder style, John set out to limit his sonic palate to a handful of carefully chosen elements. At the centre of this new direction remains the muted piano already introduced on his debut, but in a much more purified and raw form. This organic base is adorned by the warm fuzzing and wavering of analogue synthesisers, tape echoes, meditative tuning forks, field recordings from John's 'exile' period and percussion based on his rigid approach to sampling, which started developing on 'Walizka'. The guiding principle of his orthodox style of recording and sampling is to only use home-made sounds by utilising his own field recordings, applying contact microphones or hydrophones to objects and instruments, running them through different kinds of speakers and re-recording the sounds to arrive at a 'lived in' quality, often misunderstood as plainly 'lo-fi'. Touches of viola and woodwinds parts (Kim Moore of WOLF and Andrew Baker respectively) provide melody fragments and subtle details throughout the journey.

With John's healthy disregard for genre boundaries, the array of influences on 'Nomad Frequencies' is vast, but never over-powering. From the meditative tuning fork that starts proceedings on 'Of Elsewhere', the dub echoes to the hints of minimalism, free jazz explosions to the Lynchian atmospherics, all elements serve nothing more than the album's narrative journey between friction and harmony, best appreciated in its entirety. A rhythmic backbone collides with rich ambience and melody, often infectious and jarring at the same time, forging a soulful whole which most likely only reveals its true self after multiple spins.

Nomad Frequencies

John Lemke - Vessel

after yesterday's experimentation with the roland scooper i managed to do something a little more useful and intentional. this is a piano sample, again from the qu-bit nebulae, into the roland scooper in addition to some "dry" layers from the nebulae and filter modulations.

the eurorack-as-sample-maniuplator is really maturing and i find i can create exactly the sounds i'm imagining on this system. the benefit of happy accidents and patching experimentation makes it all more engaging and worthwhile.

aug 03, 2015 (deterioration)

Spotify: https://play.spotify.com/artist/6HYyeW4R4oZbUvkjG7t3qH

Join me on Patreon! www.patreon.com/owsey

Download: https://owsey.bandcamp.com/album/to-the-child-drifting-out-at-sea-2

1. Not A Day Goes By That I Don't Think Of You
2. Sarah's Summer Wasteland
3. To The Child Drifting Out At Sea
4. Dancing By The Dreamless Wave
5. A Cold Memory Of You That's Beginning To Freeze Over
6. I've Lost All Light In My Life
7. Even Though I Can No Longer Reach You
8. Saltwater In Her Veins
9. First Time She Ever Saw The Ocean
10. She Passed Away Alone At Sea
11. When I Look Down On Your Grave
12. I Gave A Whistle & 300 Cries
13. Watched You Dance At Sundown
14. In Memory Of Fallen Stars
15. Forgotten By Mankind, You Remain Only In My Mind
16. I Felt Helpless Looking At You Then
17. And So You Fade Out To The Farplane
18. Sometimes I Still Find It Hard To Believe 

Owsey: 
http://www.facebook.com/owsey 
http://www.owsey.bandcamp.com 
http://www.twitter.com/owseymusic 
http://www.youtube.com/owseymusic 
http://www.last.fm/music/Owsey 
http://www.soundcloud.com/owsey

Spotify

I've Lost All Light In My Life

'Howl' is the new album by Rival Consoles, London-based electronic producer Ryan Lee West, set for release through Erased Tapes on 16th October 2015.

Pre-order it on (Ltd. Red) 2xLP · CD · DL here: www.erasedtapes.com/store/index/ERATP076
or via iTunes: http://snip.ftpromo.net/howl

'Splendid stuff' – Gideon Coe, BBC 6 Music · 'It'll grab you by the lapels' – The Line Of Best Fit

Foremost a guitarist, growing up listening to rock rather than club music, West continues to strive towards finding a more personal balance between music for home listening and larger spaces. The title track was inspired by the howl-like tones he developed by running synths through guitar pedals. 

"By slowly drifting the pitch through distortion and delays, the result sounded like vocal cries – something which was perfect for the song and this inspired me to take on a darker set of tones across the whole album. It was made over the past few years, inspired by capturing small performances on synths, touring with some of my musical heroes, playing with feedback when I should have been catching a train, sampling my voice in unexpected conditions and recording textures in different countries.” 

The album explores a wide range of emotions; from the dissonance eruptions and primal rhythms in 'Howl', to the mournful improvisations of '3 Laments', which features a sample of his own voice. Alongside his performances on Moog, Prophet, tape delay and guitar, West enlisted the help of drummer Fabian Prynn for ‘Low’ and cellist Peter Gregson for ‘Walls’, both long-time collaborators of Erased Tapes peers Douglas Dare and Michael Price.

"This album features a lot of my own recordings, rather than simply using samples that I have sitting on my computer. This gives the album a more personal feeling, which is very important to me because I think we live in a time where there is just so much recorded material out there, and accessible at a click of a button, that the joy of recording your own drum sounds, your own percussion, your own claps, seems redundant – but it’s not! That should be a priority because its often more interesting and makes you choose a different creative path."
 
It’s rarely reported that Rival Consoles was Erased Tapes' very first signing, with a CDR of early demos under the name Aparatec that inspired founder Robert Raths to start the label. Indeed West has more in common with his contemporaries Nils Frahm and Peter Broderick than some might think. His consistent desire to create a more organic, humanised sound sees West often draft early ideas on traditional, acoustic instruments like the guitar or the piano; forming pieces that capture a sense of songwriting behind the electronics. 

"I try to create atmosphere and mood throughout with a less-is-more approach to composition. I'm always trying to find an exciting reaction from a few ingredients, because that is magic to me. To make something interesting with tons of layers of effects just doesn't excite me. But to make something interesting with just three layers requires a special alignment of sounds, ideas and timing. This is my most personal work to date, following on from 'Odyssey' and 'Sonne' which gave me the confidence to continue exploring my own ideas and approach to sound. The essence of this album was made with a few synths, some guitar pedals and lots of cups of tea. I hope you’ll enjoy it."
 
Having repeatedly performed at such prestigious venues as the Tate, and having created a bespoke audio-visual performance for Boiler Room at the V&A Museum, the blueprint for West’s current live A/V show was formed. Featuring self-programmed visuals in Max/MSP has earned him appearances at music festivals around the world including Mutek, Decibel, Big Ears and Berghain’s Pop-Kultur Festival, as well as tours in support of Clark, Nosaj Thing, Luke Abbott and Kiasmos.

Howl

Afterglow

Rival Consoles – Afterglow

Solid Steel in association with Serato (9th October) Iranian producer Ash Koosha is our guest in Hour 1, who gained a lot of attention from Pitchfork following his debit album GUUD released earlier this year. After being jailed in 2007 for putting on concerts in Iran, he moved to London and now produces beautiful and intricate electronic music and we're delighted to have a mix from him this week. He told us;

"The 60 minutes i put togher for Solid Steel is focused on the idea of Human vs Machine and the Machine as a Bio-mechanical entity, in other words the future "us". 
The idea of a Transhumanist world inspired me to mix from folky Bulgarian choir to the "Living-Machine" sounds of Leila Arab and Brood Ma. The engagement of classical music with the future of sound.
Putting the two poles together resulted in a new sonic spectrum where the value of frequency is above source of sound."

The Solid Steel website http://solidsteel.net/ for track lists and archive shows.
You can follow Solid Steel on  facebook.com/pages/Solid-Steel/175027509192663
instagram.com/solidsteelradio
twitter.com/SolidSteelRadio

Go to Hour 2 here https://soundcloud.com/ninja-tune/solid-steel-radio-show-9102015-hour-2-reckonwrong-1


Hour 1 - Ash Koosha  https://twitter.com/AshKoosha
1. Bulgarian State Television Female Choir - Schopska Pesen (Diaphonic Chant) (Nonsuch Records)
2. BROOD MA - Molten Brownian Motion
3. Amnesia Scanner - AS ANGELS RIG HOOK (Gum Artifacts)
4. Everglade - Area Login (Zoology Records)
5. Mahdyar Aghajani - Weasels and War-cries 
6. Zbigniew Preisner - Dekalog II Part 2 (Because Music)
7. Grischa Lichteberger - Cl Vb 2_v2 (Raster Noton)
8. Meredith Monk - Dolmen Music (ECM New Series)
9. Oneothrix point Never - I Bite Through It (Warp Records)
10. Amon Tobin - Surge (Emika Version) (Ninja Tune)
11. Amon Tobin - Dark Jovian (Ninja Tune)
12. Leila - In The Garden 
13. Kuedo - Scissors (Planet Mu)
14. Meredith Monk - Dolmen Music (ECM New Series)
15. Arca - Lonely Thug (Mute Records)
16. Leila - From Before…What? (XL Recordings) 
17. Bulgarian State Television Female Choir - Strati Na Angelaki Doumasche (Haiduk Song) (Nonsuch Records)
18. Lexxi - 079
19. Hans Zimmer - S.T.A.Y (Water Tower Music/ Sony Classical)
20. HANZ - Gum ( Tri Angle Records) 
21. Ash Koosha - Other ( Olde English Spelling Bee )
22. Masahiro Ikumi - Virtual Mima (Voice Version) (Perfect Blue OST)
23. Death Grips - Runway A (Third Worlds)
24. Zbigniew Preisner - Do Not Take Another Man’s Wife I (Virgni Records)
25. Meredith Monk - Dolmen Music (ECM New Series)
26. Koreless - Last Remnants (Young Turks) 

Solid Steel Radio Show 9/10/2015 Hour 1 - Ash Koosha

what happens when it all falls apart

you all dont know how much you mean to me

Free DL

Abandon..

Waiting

Vocals: Ellie Jones
Guitar: Eddie Casey
Arrangement: Ian Mitchell
Producer: Ian Mitchell/Ellie Jones
Mixed: Pete Jones

Waiting

Download my sample pack here: bit.ly/EMSamples

---------

Thanks to This Song Is Sick for the premiere: http://thissongissick.com/blog/2016/premiere-electric-mantis-daybreak/#sthash.APRfgG7v.dpbs

Spotify: https://play.spotify.com/track/0FGZWNiUIAYzkDlT80xAgu

Free Download: http://majesticartists.io/electric-mantis-daybreak

Free Download

Daybreak

Grind for it Fam..
If someone wants to record some voice over that nice thing, send me a msg <3

Kabela

'Fool' Out Now -
Brainfeeder: http://found.ee/fool-bf
iTunes: http://found.ee/fool-it
Spotify: http://found.ee/fool-sp

Brainfeeder will release the debut album - Fool - from Dutchman Jameszoo on 13th May 2016 on CD and Digital formats. The LP format will follow. Described by the producer as "naive computer jazz", despite features from two bona fide legends - namely legendary jazz pianist and bandleader Steve Kuhn and Brazilian composer and arranger Arthur Verocai - it's a record that fits perfectly into the label’s expanding take on the modern evolution of jazz music, following outings by Kneebody & Daedelus, Thundercat and Kamasi Washington. Stream 'Flake' now via the Brainfeeder soundcloud.

Taken from the album 'Fool' released 13th May 2016 via Brainfeeder.

Follow Jameszoo -
Facebook: http://found.ee/jameszoo-fb
Twitter: http://found.ee/jameszoo-tw
Instagram: http://found.ee/jameszoo-ig
Spotify: http://found.ee/jameszoo-sp

Artwork by Philip Akkerman - http://philipakkerman.com

Jameszoo - 'Flake'

Nothing Left

03 183 Times

Yasmine became known with Soapkills, the duo she founded in Beyrouth, which must have been the first indie/electronic band to appear in the Middle East. The music of Soapkills quickly became the soundtrack to the vibrant, young arts scene which developed in postwar Lebanon, the band gradually acquired an emblematic status and, to this day, Yasmine is considered as an undergound icon throughout the Arab world.

Yasmine moved to Paris a few years ago, and started working with Mirwais (who was part of French electronic new wave band Taxi Girl in the 80s, and produced/co-wrote Madonna's "Music" as well as the "American Life" album). Under the Y.A.S. moniker, Yasmine and Mirwais recorded the "Arabology" album, which came out in 2009.
 
After collaborating with CocoRosie for a while, Yasmine teamed up with Nouvelle Vague mastermind Marc Collin to create her mesmerizing, self-titled debut album "Ya Nass".  

Yasmine Hamdan has started performing her new repertoire in concert, with a band which includes Marc Collin and two other musicians. They've recently played several shows in Cairo, where the enthusiastic crowd reception and the intrigued media reactions confirmed the uniqueness of Yasmine status in the region.

Yasmine will appear in Jim Jarmusch's upcoming movie, she plays… herself, and is featured singing a song she wrote for the occasion ("Hal", which is featured in this album). Yasmine's tracks have repeatedly been used in films, sometimes with unexpected consequences: she met her husband, brilliant Palestinian filmmaker Elia Suleiman, after he used two Soapkills tracks in his award-winning movie "Divine Intervention"…


Beirut Omar el Z3enneh

It is cruel, you know, that music should be so beautiful. It has the beauty of loneliness of pain: of strength and freedom. The beauty of disappointment and never-satisfied love. The cruel beauty of nature and everlasting beauty of monotony. It washes away from the soul the dust of everyday life. I think music in itself is healing. It gets the hurt out in the open into the light, out of the darkness.

01

Jean Gha