afusb - Part 1

https://www.facebook.com/Petrels
http://petrels.bandcamp.com/
http://floatinglimb.com/
https://twitter.com/bowed_idly

Remix of the track 'Fragments of Self' from 'Fragmented Self' by Max Cooper and Tom Hodge.

http://www.fieldsldn.net/

When trying to make creative decisions based on the results of somebody else's process it makes you try things out that perhaps you wouldn't normally think of and I'd say with every remix I've ever done I've come away with something new.  Sometimes its interesting to take a track in a completely new direction but in the case of Max and Tom's collaboration I was immediately drawn to the subtle harmonic undercurrent of the synth lines beneath the main piano parts and figured it would be interesting to put together an arrangement that brought that to the fore. 

I started with a rough layering and overlay of the piano samples - trying to re-arrange them into different combinations than in the original to create something that had the same feel (on a side note, its always pleasing to work with recordings like this of instruments that sound played - i.e., you can hear the movement of the pedals and the fingers on the keys rather than a surgically-extracted sequence of notes) but that came to the main melodies from a different angle.  I can't really compete with Max's glitchy rhythmic production and since this is so distinctive it seemed like a bit of a cop-out to make too much use of these samples in any case so in the end the main part of what I used of the rhythm was a short kick drum sample that I processed in various ways to create the studded melodic cross-rhythm that I used for most of the middle of the track.

With the bare bones in place the majority of the rest of the work came from layering up the arrangement with the kinds of synths and strings that I make use of in my Petrels stuff.  Like I said, I was drawn to the low root synth line in the original that casts a subtle melodic shade over the piano lines so using this as a starting point I slowly built up the orchestration around it so as to make it much more of a focal point.  In the end, hopefully the result is something akin to a huge group of assorted musicians attempting a spontaneous live version of what essentially started as a duet performance. Well that was the idea anyhow.

Max Cooper & Tom Hodge - Fragments of Self (Petrels Remix)

Read more on THUMP: http://bit.ly/1hPNK01

Barrio Lindo's album 'Menoko' is out now on Project Mooncircle. Get the vinyl at Crosstalk International (http://www.crosstalkintl.com/node/43879) and the digital on Bandcamp (http://projectmooncircle.bandcamp.com/album/menoko).

https://soundcloud.com/barriolindo

DOWNLOAD

Barrio Lindo - Libres (Glenn Astro's Rhythm Tool)

Rhythm and Roots presents ‘A Guide to the Birdsong of South America’, an compilation of music inspired by birdsong and a project fusing art with activism. We challenged some of South America's most talented young musicians to create an original piece of music inspired by and using the song of an endangered bird from their country.

The result is a beautifully diverse and rich album of fresh new music, fusing electronica with natural sound, folkloric rhythms with modern-synthesisers and precious singing with rich instrumentation. Each song tells a story and paints a picture of these magnificent birds.

Using music as a tool for change, 'A Guide to the Birdsong of South America' aims to raise awareness about the plight of these beautiful but threatened species, many of which are on the edge of extinction. It will also raise funds for those working to protect them. All of the proceeds will be donated to the Ecuadorian birding organisations Aves y Conservación and Fundación Jocotoco, two non-governmental organisations with the aim of ensuring the survival of birds and their vital habitat in Ecuador, one of the most rich countries for biodiversity in the world.

The album will be released digitally and on vinyl in March 2015 via Rhythm and Roots. It will be accompanied by a series of one-off illustrations and post-cards from the American designer Scott Partridge.

For more information see here: rhythmandrootsblog.com/label/birdsong/

For press photos, graphics and artists bios see here:
http://cargocollective.com/rhythmandroots/

Download

Alessandra Leão - Saíra Apunhalda

Chancha Via Circuito - El Macá Tobiano

Lulacruza - Cucarachero de Niceforo

Alta Ripa

Ours

A Guide to the Birdsong of South America' is a non-profit, crowd-funded album of music inspired by birdsong. Featuring some of the continent's most talented young musicians and producers, each artist used the recorded song of an endangered species from their country and created an original track. 

The album aims to raise awareness about the plight of these birds and also to raise funds for those working to protect them. All proceeds will be donated to a pair of Ecuadorian NGO birding charities, which will include paying the salary of chief ranger of the Tapichalaca reserve, home to the Jocotoco Antpitta, Franco Mendoza. 

Support the project ! 

Rhythm And Roots - Nicola Cruz - Jocotoco Antpitta

ETHEREAL AMBIENT SOUNDSCAPES INSPIRED BY GAME OF THRONES AND THE  LORD OF THE RINGS AND MANY OTHERS. RELAX, ENJOY AND DRIFT AWAY.

ETHEREAL - VANYAR'S HYMN

Door Into The Dark

I've been listening to too much Tangerine Dream

Ice Flows In B ©

Ice Flows In B

Immunity

Collider (Pangaea Remix)

Immunity (Asleep Version) [feat. King Creosote]

Open Eye Signal (Asleep Version)

Released on March 29 in celebration of Piano Day 2018.
Pre-order the album 'Persona' here: http://phonofile.link/rivalconsoles-persona

Ryan Lee West aka Rival Consoles has announced his fourth full length album 'Persona' will be released on 13th April via Erased Tapes.

The title 'Persona' was inspired by Ingmar Bergman’s film of the same name, specifically a shot in the opening credits of a child reaching out to touch a woman’s face on a screen, which is shifting between one face and another. This powerful image struck Ryan and it inspired the album’s main theme — an exploration of the persona, the difference between how we see ourselves and how others see us, the spaces in between; between states, people, light and dark, the inner persona and the outer persona. 

"My music is generally is generally inward looking. I like finding something about the self within music, that doesn't have to be specific but maybe asks something or reveals something. This record is a continuation on the self through electronic sounds. Like Legowelt once said ‘a synthesiser is like a translator for unknown emotions’, which I think sums up what I am trying to do. I think all these emotions we have make up our persona. So in a way by finding new ones you alter or expand your persona. And that is what I want my music to try to do. I deliberately aimed to be more sonically diverse with this record. I wanted to experiment more. I wanted to create new sounds and new emotions.”

Recorded at his studio in south-east London, ‘Persona’ benefits from Ryan’s exploration of a dynamic production process that combines analogue-heavy synthesisers, acoustic and electric instruments with a shoegaze-level obsession with effect pedals. A greater depth of emotion and confidence can be heard across the album. From the deconstructed movements on ‘Unfolding’ that starts the album with a snap of delayed snares, the apocalyptic drones of the title track and thundering drums in ‘Phantom Grip’ to more  restrained ambient feels of ‘Dreamer’s Wake’, ‘Rest’ and ‘Untravel’. The latter transverses six beatless minutes of undulating melodies representing “a limbo space, a feeling of ennui, of not really ever being known to others and others not ever really being known to you”.

'Be Kind' reveals a musical connection with fellow Erased Tapes artist Nils Frahm, with its minimal approach and improvisational nature. On the more complex sounding ‘I Think So’ Ryan aims to replicate a colour collage with sound. Like a musical kaleidoscope, a flashing and convoluted mass. Written after he saw Slowdive perform live last year, ‘Hidden’ builds from whispers to landscapes of controlled noise. In an interview with XLR8R magazine, Ryan explains: “once you start trying to make a sound loud, then you turn your back on thousands and thousands of sonic possibilities. One of the best things to do is to start a track with a really quiet, weak sound.” Taking this idea to its ultimate conclusion, ‘Fragment’ closes the album as an innocent sounding ambient piece, almost nursery rhyme like, yielding time for reflection on how the persona has changed.

'Persona' follows the success of a series of releases — the ‘Odyssey’ and ‘Sonne’ EPs, long player ‘Howl’, and 2016’s mini album ‘Night Melody’ — that saw Ryan mature into what Pitchfork has called a “forward-thinking electronic musician with his own ideas about sound”. Atypical of instrumental-electronic music, Ryan has achieved a signature sound that’s unmistakably identifiable as Rival Consoles. Going beyond typical electronic music production, Ryan defines it as “songwriting with an electronic palette of sounds”.

The increasingly dynamic live audio-visual show, born from bespoke performances at the Tate and for Boiler Room at the V&A Museum featuring self-programmed visuals in Max/MSP, has propelled him to play around the world. Ryan launches ‘Persona’ at London’s XOYO on 12th April with further dates to be announced.

Persona

Be Kind

Buy 2LP/CD/DL

Rival Consoles - Be Kind

Singularity

Feel First Life

From the full-length album Violinvocations available February 15, 2019 on Western Vinyl.

Bandcamp: https://hughmarsh.bandcamp.com/album/violinvocations
Spotify: https://open.spotify.com/album/570vX9XAte8zLNyvZk5njq
iTunes: hyperurl.co/mcjsa3
WV: http://westernvinyl.com/shop/wv178

HUGH MARSH
Instagram https://www.instagram.com/hug_the_mod/
Facebook https://www.facebook.com/Hugh-Marsh-95937533059/
Twitter https://twitter.com/hug_the_mod

Even if you’ve never heard of Hugh Marsh you’ve almost certainly heard the sound of his violin. He’s a featured player on soundtracks by Hans Zimmer and Harry Gregson-Williams, was nominated for a Juno award, recorded with Iggy Pop and The Stooges, Bruce Cockburn, and was in the backing band for Bauhaus’ Peter Murphy, all a tiny fraction of his decades-long list of credits. The latest addition to that list is Marsh’s own Violinvocations, an LP recorded while Marsh lived in L.A. with friend, mentor, and fellow soundbender Jon Hassell.

Despite the album’s title, one would be hard-pressed to say with certainty whether violin was even involved in this album without being told so ahead of time. In one moment a ghost is heard weeping into a dictaphone; a digitized anime character is nervously chattering in the next; and in still another, jagged sheets of distortion avalanche toward the listener beneath auroric swells of harmony. It’s the kind of sound design that requires a dedicated attempt by any Oneohtrixian laptop composer, only it’s all being generated by Marsh’s violin and his curious cabinet of effects pedals often in just one take.

Open Eye Signal (Asleep Version)

Jon Hopkins

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