Ambient

Anima013 - tofudj - better off without you

@cncrthrzn live on Intro To Rhythm 03.09.24

https://introtorhythm.com/
https://www.instagram.com/cncrthrzn/

>> LIVE          >> https://ra.co/events/1863347
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EƎ “Introduction To Your 14 Senses” live on Intro To Rhythm

Furniture Dub #01

@trypheme

French artist Tryphème debuts on Impatience with “Odd Balade”, a darkly-hued collection of songs drawn from human delicacy and dreamworld mythology.  

“Odd Balade” is Tryphème’s most ambitious and boldest record to date - both lyrically and musically. The album’s thirteen tracks resist rigid genre boundaries and flutter from medieval folk realms, sprawling synths, gothic 80s wave, leftfield pop, haunted vocals, mutant electronica to reverbed guitars - all reflected through her own shadowy prism. Especially album closer “A Walk In The Vercors” evokes a soothing serenity that echoes the sonic balm of Julee Cruise.  

Tryphème’s musical repertoire trends heavily electronic and somewhat abstracted, but on “Odd Balade”, the artist slips into the role of the modern troubadour with a shift to a more poetically and personal songwriting that is infused with symbolism and dreamlike fantasies. The connective tissue of the album is the audacity to love and the vulnerability that ensues. As intimate and introspective as the lyrics are, the themes remain universal and human to the core: the fear of losing a loved one, the melancholia of leaving places and the cycles of life. 

The record was largely composed in Chars, stirred by the French village’s eerie atmosphere and frequent trips to the seaside in Brittany, where Tryphème resides. Drawing inspiration from the rugged terrain of the seaside landscapes, the writings of Allen Ginsberg and Mark Fisher and the hyperrealist art of Scott Prior, Tryphème uses her songs to depict life with broad strokes of rhythm.  

On “Odd Balade” Tiphaine Belin consolidates herself as a gifted, nimble songwriter, masterly producer and subtly powerful vocalist. The record combines her skill for crafting lush, alien sound worlds and efficient, alluring arrangements with stealthily devastating songs. Her voice becomes a key ingredient, appearing on eleven of Odd Balade’s thirteen tracks, by turns heavily manipulated, sampled and replayed as a form of percussion, or basically bare.

“Odd Balade” is the manifestation of Tryphème’s roving artistic practice, a ceremonial-grade sacrament cast in a rich nocturnal glow. Pairing the mundane with the mythic, the album stays true to its core: odd and strangely familiar. 

RIYL - Riding off into the sunset to an unknown destination, hauntology, the present, tales told by the fireside, hot summer rain, adventures, to feel a warm presence when you are walking in the forest or in the mountains, coastal landscapes, sailor’s stories, slow motion, vitesse, heavy blossoms, colors, the warmth of the sun, the tenderness of the moon, getting lost in unfamiliar streets, city lights, motorway rest areas by night, magic numbers, rendez-vous, picnics, serendipity, poetry, the smell of old records and old books.

Odd Balade

Tryphème - Odd Balade - Previews

Disconnect

Arkives

Difference

Natur

Natur 3

Residency show broadcasted live at Radio Tempo Não Pára (14.06.2024)

Artist: linUSB & lenny walk

Tongue In Cheek w/ linUSB & lenny walk @ Radio TNP 14.06.2024

@kamarujoseph paints varied soundscapes in his monthly ‘Palettes’ show, running through a selection of ambient and experimental sounds.

Palettes w/ KMRU (08.10.2024)

Jonas Munk is a Danish composer known for his atmospheric, ambient soundscapes, released under his real name, as well as the celebrated Manual project, which I've been following from the early 2000s via Make Mine Music, Darla, and Morr. Most of his solo works (and collaborations with Ulrich Schnauss) appear on his own Azure Vista Records, including the record I'm sharing today. And if that's not enough, you may [and should] recognise his other renowned project with Jason Kolb, known as Billow Observatory, which I've lauded on these pages for every single release. If you already know this fantastic artist, you can learn more about his process in this interview, which I published in 2019: In the studio with Jonas Munk. His latest release, titled Mirror Phase, is the final record in the trilogy of minimal ambient albums composed using guitar loops and lush synth pads. My favourite piece on the album is the title track, which is why I'm happy to premiere it for you today. This is the longest piece, approaching 18 minutes, and it's a slow-burn evolution of warm frequencies that oscillate at different phases, creating that beating of constantly shifting patterns, which finally develop into a blissful sonic space. Suddenly, all of the eighteen minutes pass, and I feel like I should experience the journey all over. Everything is perfectly out of focus, creating a brand-new perspective on repeat rotations. These are the stunning "sonic structures that gradually evolve, like cloud formations in the sky..." Fans of delicate and introspective moments from the likes of William Basinski, Christopher Willits, and Stars of the Lid will find themselves in a familiar environment with plenty of texture to get lost in and then discover themselves again.

Read more on Headphone Commute:
https://headphonecommute.com/2024/10/24/jonas-munk-mirror-phase/

Mirror Phase

TRACK PREMIERE : Jonas Munk - Mirror Phase

original soundtrack plus extra outtake stuff i made for 4spells (2024), a film by tom rogers - link here: www.youtube.com/watch?v=4HD6lmN_yXE

cover artwork by tom rogers (clip from 4spells)

bandcamp

all i wanna do (slowed)

Wutiwant x "The one who left it all behind" (Extra Slowed + Reverb)

UdieNnx - VOID (SLOWED)

Ulrich Schnauss & Jonas Munk: "Passage" out now on CD/LP (via Azure Vista Records) and digital (via Pedigree Cuts)!

Order here: www.azurevistarecords.bandcamp.com

Info:

Following the release of ‘No Further Ahead Than Today’ last November Ulrich Schnauss (now a member of Tangerine Dream) wastes little time in bringing us the long awaited sequel to his 2011 eponymous collaboration with Jonas Munk.

There's a prismatic, multi-dimensional quality to these 11 tracks, most likely stemming from the fact that these two producers have each worked with a wide range of styles and musicians throughout their 15+ year careers: Ulrich cut his teeth as a drum and bass producer in Berlin, before releasing a string of highly influential neo-shoegaze records on labels such as Domino and City Centre Offices. Since moving to London in 2006 he's been a member of the bands Engineers and Longview, remixed many artists (from Depeche Mode and Pet Shop Boys to Mojave 3) and since 2013, been a member of legendary band Tangerine Dream.

While Jonas initially became known to the electronica community via his Manual albums on Morr Music and Darla Records, he also has a career as a noted producer on the European psych scene, as well as working on film soundtracks and experimental minimalism.

Fans of the first album’s euphoric and blissful moments will find much to love here, but also themes that gradually unfurl into crisp, symphonic soundscapes. The album is perfectly titled - it certainly has the feel of a journey but not in a literal sense. It feels like an ‘emotional passage’ or one that plays out via a series of dreams.

Opener ‘Amaris’ has many of the Schnauss hallmarks that we’ve come to enjoy from his many shoegaze collaborations and Munk is the perfect foil for this side to his oeuvre - the track chimes and sways beautifully before one of his trademark melodies hits and leaves you breathless. Munk introduces a more progressive aspect to the release than previously heard by the pair on 'genau wie damals', which recalls several 70’s guitar based giants, though in 2016 this is somehow a natural diversion for a record bearing Ulrich’s name.
Mst’ is certainly one for those yearning for the open armed rush of the first album will surely embrace - 80’s guitars and electro drums set the scene for some of the most gorgeous sequencing and melodic synth work on the album. In truth though, there’s no shortage of highlights. The retro futurism of ‘Spellbreaker’ is awesomely addictive and modest standout ‘Caffeine blues’ combines tasteful guitar strokes with a standard of Berlin school sequencing that surely only a member of one of the scene’s key exponents could summon.

Ulrich Schnauss & Jonas Munk: "Ao Hinode"

info: https://radio.syg.ma/episodes/guests-121-perila-floor-in-a-restaurant-across-the-street-always-seems-wet
https://perilazone.bandcamp.com/music
http://zakharenko.es
https://soundcloud.com/perila

Perila

GUESTS 121 – Perila: Floor In A Restaurant Across The Street Always Seems Wet

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bookings: 
carin@outer-agency.com / (EU/WW) 
michael@heavy-trip.com (CA / US)
sync & licensing:  
gavin@syncsmith.com

contact: joseph.kamaru.jk@gmail.com 
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Intensive ambient explorations and other stories.

Difference

KMRU

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