-jozefaleksanderpedro- + torturado play:

rhodes 73
wurli 200A
drums
fieldrecordings @ de kuip, feijenoord {motards} 13 april, rotterdam

15 april 2014
pace,
tortu/jap

aantrekkingskracht der oneindige

New Album due out September 22, 2014 on Song, By Toad
First 'Single' is a song called 'In Service' found here: https://soundcloud.com/songbytoad/david-thomas-broughton-juice-9

Woodwork

bass VI canzone di amore
i sung trough a vintage market
bullet microphone i received from karen ! yeah !!!

note to myself:

a still have to finish
the sing sing along
(blonde redhead/faith no more) part
short staccato whispered kinda voice stuff
but it's 07 in the morning now . . . z z z z z z zz
time to a sleep !

zzz+
18012015
pedro


the outro is really bassy from my bass vi !

eindloos

aiuta help !!! im drowning in inspiration, no ?

a very special girl told me
this sounds really tormentata
but there is always a melody or
chords of hope she says

this is for you ucelito ! 

recorded with my five stringed
conde hermanos flamenco guitar
in the staircase_ _ _ you can hear the dog
gently weep, you can hear the neighbours
going a way

27072015
pace,
j.a.p.

chorea/lariana

Remix for "Sometimes the Sun Doesn't Want to be Photographed" from Graveyard Tape's remix record "I'm On Fire" out 8/14 on Lost Tribe Sound: http://gtapes.bandcamp.com/album/im-on-fire-white-rooms-remixes 

best listened to loudly on headphones c:

Sometimes The Sun Doesn't Want To Be Photographed (Bastardgeist Remix)

Control 2 
featuring https://soundcloud.com/amateurbest
from s/t EP on https://soundcloud.com/doubledenim on Oct 09
Buy here: http://smarturl.it/DreamTrakEP 

Control 2 (feat. Amateur Best)

The original motion picture soundtrack to ‘Salero’ will be out on November 11th.
Pre-order the (Ltd. Clear) LP/CD/DL here: http://phonofile.link/salero

Having channelled some of the most iconic drift music of our time through A Winged Victory For The Sullen and Stars of the Lid, 2016 has already seen Erased Tapes luminary Adam Bryanbaum Wiltzie provide original scores for a number of feature films including Jalil Lespert’s ‘Iris’ and ‘The Yellow Birds’ by Alexandre Moors.

It’s on the non-fiction film ‘Salero’ however, that we see Wiltzie weave some of his finest work and deliver an expertly distilled accompaniment to director Mike Plunkett’s sprawling, uncompromising visuals. Set in Bolivia’s Salar de Uyuni, the world’s largest salt flat, the narrative follows the region’s ‘Saleros’ – those who have for generations gathered salt and earned enough to somehow carve out an existence in such a barren landscape. It’s with the discovery of huge Lithium reserves – a mineral used frequently throughout the tech industry – under the scorched earth that acts as a catalyst for exploitation of the environment and its people; holding a microscope to the drastic effect industrialisation has on local culture and tradition.

“I have always said that composing music is infinitely easier when you have beautiful images to be inspired by. It was a pleasure to write a score over this captivating place of endless, glimmering salt before its impending demise. I was fascinated by this mythical space and its ability to define the identities of the people who live in its vicinity, where this vast salt flat itself would be a central character” – Adam Bryanbaum Wiltzie

Recording took place in Adam’s Belgium-based studio for the guitars, percussion and small string ensemble tracking. Hungary was chosen for the final large string orchestra recordings at Magyar Radio Studio #22 with the Budapest Art Orchestra.

Adam will be touring his Stars Of The Lid project across European cities this autumn including a performance at The Barbican in London. Tickets and more information can be found here: http://www.bandsintown.com/StarsOfTheLid

TRACK LISTING:  

1. Armstrong Opening/Closing 2. The Premonition 3. Potosi 4. Marcelo Intro 5. The Few Of Us Left 6. They Dream Of More 7. Bring This Place To Life 8. Transforming The Country 9. Wealth Baby 10. Using Magnifico 11. It Ends With Me 12. Colchani Is Changing 13. Lithium, The New Era 14. Salero End Credits (For Moises)

WEBSITES:  artificialpinearchfailures.org · facebook.com/adam.wiltzie · twitter.com/adamwiltzie · erasedtapes.com

Salero (Original Motion Picture Soundtrack)

Lithium, The New Era

Buy LP/CD/DL

Adam Bryanbaum Wiltzie - Lithium, The New Era

Tracklist and Q&A: https://www.thefader.com/2018/11/19/colin-self-siblings-fader-mix

Colin Self - FADER Mix - 2018

FADER Mix: Colin Self

There is a house out along the dusty farm road that does not conform. Through the massive gray door and to the left is a parlor where the ladies sit in their floral print summer dresses, sipping tepid cups of tea through downturned lips. In the hall, the children tear by, swinging their skinny arms around the post to turn up the stairs. They go round and round, down the back stair and through the kitchen in an endless race, their gasping faces frozen in the sheer delightful terror of the chase. The yard behind the house is a lumpy field of clay bearing only the hardiest weeds. A middle-aged man is stuck in the ground there, buried up to his waist. Each morning, his boy brings him a bowl of water, a razor, and an orange. He shaves, pours out the water, eats the orange, and places the scraps of peel in the bowl. Sometimes a robin perches on his shoulder or tries to build a nest in his hair. Beyond the yard is a pond into which extends an ancient wooden dock. The master of the house, smoking calmly in his striped swimsuit, paces the dock in the evening. Once an hour, he lowers himself into the water and kicks furiously, all the while clinging to the splintered pier. He hauls himself out after a while and resumes his pacing. A beautiful girl lives in the attic of the house, or so they say. She brushes her long blond hair from morning to night, stopping just once to scribble a note, fold it into a plane, and toss it out the window. Usually it simply falls to the ground, but sometimes, it will catch a gust of wind and glide out over the yard, coasting between the thorny branches of the locust trees at the ponds edge before landing with a soft plit in the brackish water. If the master could swim, he might push away from the dock and carry himself with broad strokes out to that floating plane. He would bring it back to the dock, shake himself dry, and read the note: Come back to me.

"With the ripped and distant loops of singing children (are they singing?), I imagine some futuristic archaeologist finding only that 1-second clip and them playing it over and over, trying to rebuild the past. But I suppose that's what I'm doing, playing this song over and over, trying to fabricate a story to this gentle 3-minute sample, of a moment, of a day, or a month, however long this feeling lasted." - Said The Gramaphone

Sometimes The Sun Doesn't Want To Be Photographed (Bastardgeist Remix)

J. Midden