Listen / Purchase: https://lnk.to/mastrokristo

Presenting ‘Departures’ (out now on Lost Tribe Sound), the debut album from μastroKristo. ‘Departures’ is a nocturne, built from a humble and quiet rehearsal for untuned piano, tuba, bassoon, and tapes. It's a tribute to the night, and to all the failed and successful attempts at falling asleep. In gentle gray and pale blue hues, its watery, moonlit emotions spill forth... a siren’s song tempting heavy eyelids to take the final plunge towards a long night’s sleep.

‘Departures’ makes use of the worn mechanics and incidental noises generated by μastroKristo’s nearly 100 years old John Spencer & Co upright piano and its exposed soundboard. The artist takes advantage of the fragile character found in the low fidelity recordings and uses it to serve an equally important role as the piano itself. The tired piano hammers collapse in cascading cyclical patterns, resting comfortably inside the hiss and the wow and flutter effects brought on by an old TASCAM cassette recorder. Further still, these moments are glued together by the relaxed conversations between a tuba and a bassoon, which help lend a certain film noir like character to the music. This combination of forward motion and fluidity creates an intoxicating ebb and flow.

Departures

Waves

mastroKristo - Waves (from Departures)

Listen / Purchase: https://lnk.to/meltingworld

Ryan Chamberlain (aka Arrowounds) originally envisioned 'The Rise and Fall of the Melting World' as an extension of the previous two albums, 'Oncotype Sketchbook' and 'The Loneliness of the Deep Sea Diver,' although with the intended purpose of exploring the "aftermath and resurfacing" from the events that inspired those creations.

Chamberlain aimed for a more open sounding terrain to represent a clearing of the mind or the ability to breathe again, though there were multiple occasions throughout the making of 'Rise and Fall' where the waves came crashing back down into the depths. Nothing is ever that easy. Continuing health scares of those closest to Chamberlain and the overall climate of anxiety the world maintains always threatened to darken and pollute the soundscapes during their creation.

Field recordings from Chamberlain’s new living environment; far from the city, also played a huge role in shaping this album, maneuvering the senses of uncertainty and isolation throughout. Traveling in the mind, projecting ones being through nature, spilling out amongst the moss and soil into your own film of wreckage… senses perceive as much as deceive.

As it stands, 'The Rise and Fall of the Melting World' is the perfect closing to the trilogy of albums, with its lingering threads and cancerous tentacles breaching the surfaces and branching into unknown landscapes.

The Rise and Fall of the Melting World

Caverns of the Behemoth (Edit)

Arrowounds - Caverns of the Behemoth (Edit)(from The Rise and Fall of the Melting World)

Seeking (Holographic Field Rework)

Agnes

Agnes (Synth Edit)

CD/DL: https://alderandashmusic.bandcamp.com/album/if-this-were-my-body

Adrian Copeland's 'If This Were My Body' is the eighth and final release in the Lost Tribe Sound album series, Salt and Gravity. The series includes albums from Arrowounds, ’t Geruis, mastroKristo, Adrian Copeland (aka Alder & Ash), Tony Dupé (aka Saddleback), Federico Mosconi, sanr, and Alapastel. To receive 'If This Were My Body' on CD or Digital at a discount, subscribe to the series here: https://losttribesound.bandcamp.com/album/salt-and-gravity-series

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‘If This Were My Body’ (releasing on Lost Tribe Sound) is the first album from Canadian experimental cellist and composer Adrian Copeland under his given name. Some may be familiar with Copeland’s body of work as Alder & Ash. While the project has garnered attention from a wide range of musical communities ranging from metal to classical, the decision to release the new record apart from the works of his alias make sense. Though Copeland remains committed to the cello as the primary and only sound source, its an internal shift that has played the biggest part in shaping this album.

"If the music I wrote was my body, how would I use it to tell stories? Would I fight with others, would I hurt myself, would I yell or would I cry? On this album, I wanted to reclaim my body as an instrument of gentleness and love. Too often, the male body is objectified as a tool of violence and hate, and we don't often have the chance to learn what it means to love as men. My own relationship with my body is marked with bitterness, self hatred, and shame. This album "If This Were My Body" is an unlearning of all the violence I've inflicted and all the violence that's been inflicted on me. It's a celebration of another way of being, one of vulnerability and tenderness.

There is a triumph here that doesn't exist on my previous albums. There are moments of sadness and intensity, but it's overwhelmingly an album about love, specifically self love. During this period I was undergoing a period of transformation and relearning my relationship to myself, my work, and most importantly, my body. I wanted to release this album under my own name, as it felt more vulnerable to do so. There is no artifice to hide my emotions”

- Words of Adrian Copeland

If This Were My Body

If This Were My Body (Album Preview)

Adrian Copeland (aka Alder & Ash) - If This Were My Body (Album Preview)

for cello, transducers, and sampler.
ensemble mosaik (Mathis Mayr and Ernst Surberg) live at Acker Stadt Palast, Berlin.

Gravity and Center (cello + sampler)

London-based Slowcraft continues to craft... slow, and quiet, beautiful music... the type of music that I love waking up to and observing the dark sombre sky open up to the world for another short day. For the latest release on this boutique label curated by James Murray, we are gifted with a six-piece album by a Czech composer and field recordist, Tomáš Šenkyřík, titled Hajú, which is an old Moravian word that loosely translates to “hush hush”. Today's track premiere of "Advent" is as appropriate as ever, with the seasonal preparation for the holidays, which began yesterday, November 27th. The word is a Latin adoption of "adventus" which means "arrival," and whether you are of Christian faith or not, the approach towards this time is sensed by everyone. For me, it's like a ramp down off the highway of the year, about to enter through the tunnel, where night and quietude surround a slow transition in-between, before a ramp-up into busy January, where somehow everyone exhales anew. This journey is perfectly soundtracked by Hajú, with its "subtle weaving together of acoustic elements, soft synthetic manoeuvres and evocative field recordings to spellbinding effect." These gentle, minimal, and fragile sounds are cradled further by warm strings and piano keys, concluding with a lovely lullaby, with vocals by Marie Puttnerová, "a modern-day framing of Moravian folklore guided as much by ambient minimalism as the ghosts of Dvořák and Janáček, one in which the family hearth forever glows with unmistakable warmth and generosity of spirit."

Hajú

Advent

TRACK PREMIERE : Tomáš Šenkyřík - Advent

Hauschka live at Radialsystem on 22 March, 2014.

Special thanks to Michael Buchholz and Carlo Grippa for the amazing sound.
Recorded at Radialsystem, Berlin.
Published with permission of the artist.

If you like what you hear, support the artist!
http://hauschka-net.de

Visit UM:LAUT on Facebook and spread the word:
www.facebook.com/umlautberlin
www.umlautlive.de

Hauschka @ UM:LAUT - Craco (Live)

seclusion

Echos of Magma Idref

Artist: Nick Zammuto
Title: Tonight We'll Go For A Ride
Album: We The Animals: An Original Motion Picture Soundtrack
Release Date: November 9, 2018 Digital / February 8, 2019 Physical

Pre-Order: www.temporaryresidence.com/products/trr308

We The Animals is the award-winning new film from Jeremiah Zagar (In A Dream). Based on the best-selling novel by Justin Torres, We The Animals is Zagar’s first narrative feature. It reunites Zagar with Nick Zammuto, the renowned composer and co-founder of beloved collage-pop pioneers, the Books. Inspired by the film’s setting in rural upstate New York – and influenced by the early ambient electronic music that galvanized the Books two decades ago – Zammuto pairs that earthen, wooded isolation with dynamic pulses of customized electronics and sparse, crystalline layers of melodic soft synths. The juxtaposition is arresting, and gives the soundtrack a unique heft befitting of its subject matter – and betraying of its minimal instrumentation. Beautifully edited and sequenced to act as both a companion to the film and a standalone album, We The Animals: An Original Motion Picture Soundtrack is as subtle as it is startling, and succeeds in making even the heaviest emotions feel momentarily weightless.

Gravity and Center (cello + sampler)

Joshua Mastel