With You

Stream/Download: https://chemicalx.ffm.to/mitosis

Eartheater Socials:
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Mitosis

The Girl Who Lost The World

Arca - Fossil

Prod: Sega Bodega 

LYRICS:
i reach for you 
drown in the clouds of dew 
petals crumble and fuse
into the walls

wilted sisters shedding 
like the last of our love 
pain behind my iris 
you don’t get too involved 
 
tend to me 
tend to me

tongue-tied 
there’s a crack in my side 
(tend to me)
butterflies on my thigh 
(tend to me)
love me 
love me 
love me
more 
love me 
more 

(in the) 
evening breeze 
caress me tenderly 
tenderly 

(in the) 
evening breeze 
caress me 

tend to me
tend to me

Drown in the Clouds of Dew

cover of Rexy 'Alien' by Samantha Urbani ft John Kirby. original version can be found on the 1981 album 'Running Out Of Time' to be re-issued on URU/Lucky Number on March 18th, 2016. 

Pre-order:
http://smarturl.it/rexy
http://www.roughtrade.com/albums/100400

http://uru.world
http://www.luckynumbermusic.com

Samantha Urbani - Alien

© 2017 RICHARD D. JAMES ALL RIGHTS RESERVED.
The all korg track created using:
Korg Monologue x3
Korg MS-20 kit
Korg Poly-61M
Korg Volca keys
Korg Volca beats
Korg Volca sample
Korg Minilogue
son on vox

Read the full article with Richard D. James and synth designer Tatsuya Takahashi here:
http://found.ee/aphex-korg

Listen to the album "Korg Trax+Tunings for falling asleep" on aphextwin.warp.net
https://aphextwin.warp.net/release/86888-afx-korg-traxtunings-for-falling-asleep

Graphic by Ryo Asakura (Seventhgraphics)
http://seventh.graphics/

korg funk 5

Pictureplane's "Thee Physical" was a conceptual work about how we, as humans, relate to our 3rd dimensional world by experiencing it physically through touch. and our experience of being human inside of physical bodies in a post-physical digital age. this collection of remixes is a continuation of these concepts, each remixer being hand selected by pictureplane to work with the digital skeletons of each song, to carry out their own visions of what Thee Physical meant to them, and their physical forms. This remix double album, is the 7th Dimensional Rip. which is an ongoing conceptual art work by Travis Egedy (pictureplane). each Dimensional Rip is meant to be, just that, a rip or tear within space and time. a way of putting something out into the universe that helps to alter perception and the very world that it exists in. past Dimensional Rips have been anything from group art exhibitions, a zine, a mix of slowwed down happy hardcore, or a performance artwork inside of an art museum. the 7th Dimensional Rip is no different.

Real Is A Feeling (Grimes Remix)

▶ Spotify: https://spoti.fi/3lLxAIX

Co-produced by @exploitedbody

www.pearlydrops.com
www.instagram.com/pearly_drops
www.facebook.com/PearlyDropsOfficial/
www.pearlydrops.bandcamp.com/

Pearly Drops - Smokescreen

Arca - &&&&&
Format: LP (Special etched vinyl edition) / DL
Cat.No. PAN 100
Release Date: 18 September 2020
Purchase: pan.lnk.to/Arca
Fully remastered & first-time release of individual tracks

For anyone who can remember, Arca’s &&&&& was a moment. Its 25-minute stretch of coiling, contorted grime and glitch; dub and hip hop dropped with the buzz of an impending co-production credit on Kanye West’s Yeezus in 2013. It included cuts of sound and beats that were too weird for that pop project, while becoming a piece of experimental art that what would come to define what is by now broadly known as a ‘post-club’ sound. It’s music that is as visceral as it is experimental; made as much for the mind, as it is for the body.

Released with no warning seven years ago, &&&&& became a bridge between Alejandra Ghersi’s time partying and collaborating with her queer peers, while still living in New York to the next stage of her career releasing on Mute in London. She’d go from making beats for rapper Mykki Blanco and fashion label Hood By Air, posting lurching bass reworkings of pop hits on YouTube, and producing her first fluid mixtapes with DIS Magazine, to finishing off this seminal mixtape on the synths in Daniel Miller’s studio.

After dropping three impressive EPs the year before, &&&&& marked a transition. Continuations and extrapolations of material from Stretch 1 and Stretch 2 appeared in the mangled RnB sampling of “Century” and Arca’s signature vocal layering in the pitched flow of “Waste”. Along with the fluttering, muted heartbeat of “Obelisk”, and the lumbering piano chords of “Mother”, fourteen sonic sketches were elegantly woven together into a single, downloadable whole.

As Alejandra’s course turned toward moving to Europe from the United States, &&&&& became a remarkable challenge to the form of the mixtape, which was a relatively new trend taking hold of the online-oriented underground at the turn of the 2010s. But where many, if not most mixtapes where treated simply as a showcase of individual tracks presaging a more ‘official’ release to come, &&&&& was a complete piece in its own right. “I wanted to make something that was my best work,” Alejandra says about a record that has stood the test of time, “I listen to it very fondly today.”

Now, with the lifespan of the Arca project nearing a decade, Alejandra has entered a new era of ‘non-binary pop’ with her fourth album, KiCk i, out on XL Recordings. It’s more important than ever to look back while forging ahead, and &&&&&’s ground-breaking hybrid dance music is a good place to start:

“A sense of possibility, a sense of the unknown; punk attitude, respect for classical music and formality; cyberpunk, anime, sexual tension; trauma, innocence, fear of death; kink, lots of weed, and wanting to connect with people, but not on the terms of a status quo. That kind of sums up &&&&& for me.”

The release is mastered by Enyang Urbiks, with artwork by Jesse Kanda.

&&&&& (PAN 2020 Reissue)

Arca - Pure Anna (PAN 100)

Eartheater - Phoenix: Flames Are Dew Upon My Skin
Format: LP / DL
Cat.No. PAN 112
Release Date: 2 October 2020
Purchase/stream: pan.lnk.to/Phoenix

Composed, produced, and arranged by Eartheater alone, Phoenix: Flames Are Dew Upon My Skin draws a path back to the primordial lava lake from which she first emerged, as it also testifies to the reincarnating resurrections the project has undergone over its first full decade of existence. While the album renews her focus on guitar performance and legible structure, Eartheater balances the unabashed prettiness of acoustic harmonic songs with the dissonant gestural embroidery of oblique instrumentals. Having fallen back in love with the idioms that first captivated her, she worked to crack open the techniques that had fossilized inside of her, while still seeking to apply the electro-alchemical knowledge she picked up along her journey. The result of a laborious revival in fire, Phoenix recontextualizes Eartheater’s combinatorial approach to production within her most confident abstractions, adjacent to some of her most direct songs to date.

Eartheater composed and workshopped most of Phoenix over a ten-week artist residency (FUGA) in Zaragoza, Spain, housed in a sprawling, cubic glass facility that looked out over wildflower-flecked mountains. Following an intensive period of recording and touring, the residency provided her with an unprecedented period of solitude in the small Spanish town. Her newfound sense of isolation ultimately became liberating, leading her to sidestep the crutches and steady grids inherent to electronic music, and to conceive pieces rooted in her guitar and her desire to perform with other players live. Eartheater’s voice glows brighter than ever at the center of Phoenix’s arrangements — her familiar operatic highs are grounded by newly expanded velvety lows, leaping lucidly up and down octaves. Her intricate guitar work flits across baroque fingerpicked passages and latches into cyclical figures that meet her voice in lush harmonic progressions. From her own guitar parts, to the orchestral string arrangements she wrote for the Spanish conservatory group Ensemble de Camara, to the harp and violin lines performed by her close friends and collaborators Marilu Donovan and Adam Markiewicz of LEYA, Eartheater’s applications of acoustic instruments bring an extraordinary emotional emphasis to her compositions. Phoenix prepares for a future where electronic sound — or even electricity itself — isn’t guaranteed, but where her music could still come to life with a group of hands dexterously winding across instruments against the light of the fire.

Eartheater drew inspiration for Phoenix from geological imagery, whose turbulence and potential for genesis mirror the trajectory of her own life and relationships. The album’s instrumental pieces directly reference these moments of upheaval, colliding audio of volcano and lightning storms with resplendent string and vocal arrangements. “Volcano” looks out over the album from its peak at the center, its tectonic plates colliding in towering melodies and layers of vocal harmonies, as piano accents crest and cascade down the mountainside. When Eartheater sings, “I’m still building mountains underground,” she is trying to reconcile the pinnacles of her ambition with the comforts of a simple existence buried beneath the surface. “Diamond in the Bedrock” finds her admiring the gemstone forming under intense pressure inside her, but rejecting the romantic promise that the diamond signifies, choosing instead to escape a relationship that has come to stifle her.

Read full press release: bit.ly/2XtJGvQ

Arca - Fossil

JerryJimbles