SOPHIE - Is It Cold In The Water (Instrumental)

Theory of Machines

Before I start releasing new music next year, I have to let go of one thing first. 

Not many people know, but last year in April I lost all my project files (thanks Dropbox backup!). My entire project folder, and everything that I worked on for the past three years were instantly wiped out. This included what would have been my second album. Written during the pandemic, It was not yet finished but I had almost 25 demos to pick from.

At first I was deeply upset and sad for days. Eventually I started to get over it: I was never fully into the album – I liked it but also had my doubts, that it wasn’t as strong as my first album – I didn’t know how it would’ve been received, as it sounded like nothing else I’d released. So I put it aside, tried to move on with my life, eventually forgot about it.

Seven months later, my mum was taken into biopsy for suspected stomach cancer. During that time I stumbled upon that forgotten album. I remember listening to it on repeat after all those months; it helped me get through one of the most difficult times of my life. 

Fortunately, my mum has recovered now, but this incident made me realise that this project can’t sit on my hard drive forever. In these trying times, I believe it's worth sharing this music with the world, hoping it can bring some positivity and comfort to those who listen.

So here it is, Stella Remota. What was for me a light guiding me out of the darkness. What would have been my 2nd album, now for you all to enjoy. 

Thanks for your support, as always. Lots of music coming in 2024.

PS: Bandcamp Friday is in two days. All the money generate from this release on the day will go towards Medical Aid for Palestinians (MAP) 


Cover artwork by @y.yairam
Visualiser by @matteo.zamagni

BUY THE ALBUM

TSVI - Stella Remota

Live From Moscow - Cult Member

from the album "RIP Chrysalis" coming out on Hausu Mountain on 10/20/15

For more info:
hausumountain.com/?page_id=2282

Eartheater - Wetware

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)

「Meditation」

SWAG

a deleted track by Max Higney aka Lil Higgy fka Lil Higgy the Dolphin God

max higney - help me father

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

max higney - help me father

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