101, Milky Way

Deus Arrakis

Der Hauch des Lebens - Pt. 5

MULTI Pt#1

MULTI Pt#4

INFINITY Pt#2

MULTI Pt#3

INFINITY Pt#1

ALPHA

INFINITY Pt#3

Title track from Leafcutter John's new album, Resurrection(Pathway009)

A panoramic sound world of drifting vocals over a densely-processed terrain of mud-caked percussion and guitar, Leafcutter John’s new solo album, Resurrection, is a characteristically unique blend of the electronic and the acoustic, the hi-tech, the human and the homemade.
Resurrection is the sixth Leafcutter John album and his first solo release since 2006’s The Forest and The Sea CD/LP(Staubgold). In the intervening nine years, John has toured from Vietnam to Venice, appeared live with Beck Hansen and Imogen Heap, and provided the score for Crow, a major theatre project by Handspring (creators of War Horse). 

During this time, John has also maintained his permanent role as the unpredictable, electronic antagonist in Polar Bear, the twice Mercury Music Prize-nominated, genre-defying jazz band.
This new record marks fifteen years of releases by Leafcutter John. Born John Burton in Wakefield (Yorkshire, England), his highly original musical voice was first spotted by Mike Paradinas, label boss of Planet Mu Records. Over the course of his first three albums (2000-2003), John established and developed his idiosyncratic London-based studio, and his skills as an inventor of unusual instruments and extraordinary music software.
Resurrection begins with the sound of a single bell, in homage to one of John’s major influences, Bernard Parmigiani’s De Natura Sonorum (1976). From there, the album unfolds over five cinematically varied tracks, “like floating above a world in constant flux,” in John’s own words. In fact, aerial photographs of the Japanese tsunami of 2011 were a direct inspiration for the record.
“I would create complete, fully-formed compositions,” says John, “then later, I’d come back to them, playing the part of
the destroyer, scraping and smearing away elements, weathering, piling up and re-ordering them, as if they’d been hit by a natural disaster.”
Not content with the usual tools available to the electronic musician, John has created innovative new systems and techniques for both live performance and production. This includes a light-controlled instrument that allows him manipulate his live sound through gesture, flickering candles, flashing torches and pyrotechnics. For the track “Gulps,” John coded special software to layer huge swathes of sound. Using a recursive system, he created 7.1 billion layers of a recording of the North Sea, one for each human alive on the planet at the time of writing.
Featuring a guest appearance by Shabaka Hutchings (Sons of Kemet), “Gulps” is a poignant demonstration of John’s
approach: Hutchings’ intimate clarinet is gradually engulfed by a (literal) ocean of sound. This is sculptural sound design
where technological innovation is always at the service of the emotional impact of the music: deeply human at its root, and
mind-expanding in its ambition.

Desire Path Recordings
www.desirepathrecordings.com | leafcutterjohn.com

Credits
Written and produced by Leafcutter John, with Varpu
Kronholm playing additional percussion on “I Know You
Can” and Shabaka Hutchings playing Clarinet on “Gulps.”
“Endless Wave” contains elements of “Forest Of Spades” by
Strings Of Consciousness, used with permission.
Mastered by James Plotkin
Photography by Max Baillie
Design by Chris Koelle, Leafcutter John, and Varpu Kronholm

Distributed by Revolver

Leafcutter John - Resurrection

Nucleon - Shogun Funk Seven Piano Key (MayxwelldrumnBass Remix)

Old Forest Sound

May the Forts be with you 2025  mix 2

from 'Machine To Machine' [CD|2xLP|DIGITAL]
Denovali Records · den235
available in July on all formats at [http://denovali.com/ricardodonoso]

Following on from early 2015’s exercise in dissonant formalism “Sarava Exu”, “Machine to Machine”, Donoso’s newest full length work sees a return to a more melodic sound. “Machine to Machine”, continues to bridge the gap between Donoso’s more rhythmic and melodic work alongside his more experimental, loose and dissonant side yet still maintaining his unique signature feel; “WTF”-polymetric rhythms, elegant cinematics and spine chilling tension. Recorded over the last two years in between visual commissions and more through-composed heady works such as “Sarava Exu” and “A Song for Echo”, “Machine to Machine” represents Donoso’s return to the songbook format for the first time since 2012. 

Influenced by the work of Edward Bernays, Gustave Le Bon and Ernest Dichter - wherein past efforts have seen Donoso looking inwards, “Machine to Machine” has him looking outward - incorporating subliminal advertising techniques such as backmasking, ZMET and steganography, “Machine to Machine” is a meditation on priming with and without awareness and a treatise on the psychophysics of our contemporary age. 
“Machine to Machine”’s collection of songs are Donoso’s most versatile yet, incorporating all major elements from his discography into a unified album. There is something for everyone on “Machine to Machine”, and that is well the point, a vast range of emotion eliciting stimuli for your consumption.
 
RICARDO DONOSO is a composer, percussionist and electronic musician from Rio de Janeiro, Brazil who currently resides in Boston. After having studied composition at Berklee College of Music and New England Conservatory he has participated in a slew of projects over the years, most notably playing drums for avant-death metal unit Ehnahre and being one half of the ever morphing electronic duo Perispirit. Ricardo's musical vocabulary draws as much from contemporary composition, drone, to techno and noise.


Machine to Machine

Ricardo Donoso - Dance of Attunement

from 'Scandinavia' [CD|2xLP|DIGITAL]
Denovali Records · den245
available on all formats at [http://denovali.com/multicastdynamics]

Samuel van Dijk is an electronic music producer, sound designer and media artist from the Netherlands, having released electronic music under a variety of projects, namely, Mohlao and VC-118A. With his current project Multicast Dynamics he creates ever-evolving sound textures culminating in intriguing soundscapes while preserving a tranquil cinematic atmosphere. Drawing inspiration from nature, technology, film and fiction, his music productions, live sets and audiovisual work presents a carefully arranged, recorded and processed body of work, using a vast amount of layered sound textures, field recordings and live improvisation. In May 2015, Denovali Records released the first two albums of a four part series by Multicast Dynamics, conceptually linked by our undeniable connection with nature and its wide range of landscapes, colors and movement. Now the third album called SCANDINAVIA follows in October 2015??.  The album series moves from an evolutionary to a cosmological scale: Starting from dry land filled with light and streams, to the constantly changing surfaces of the oceans, into a frozen and murky underwater world, finally up to the arrival in an interstellar space and the cosmos. With this concept Multicast Dynamics explores organic and aqueous worlds in a dreamlike and spiritual appearance.

SCANDINAVIA is the third installment in the four part series. Assembled during the coldest season, it’s an album full of contemplative electronic recordings, created by the use of granular synthesis, obscure delay units and rudimentary looping techniques on magnetic tape. Recorded with a longsighted outlook, SCANDINAVIA features washes of subdued tones and textures as well as melancholic and warm sounding pulses of noise - all characterized by distinctive aquatic features. Steadily flowing, but slowly awakening the album draws frozen remote landscapes ranging from dark, cold and desolated to melting, warm and hope.
SCANDINAVIA opens with a bleak arctic environment in deep hibernation, where echoes of glacial bursts cut the silence. An undulating mass of viscous ambience sends out blurred out signals through the storm. In this inhospitable surrounding of frost and ice slow changes appear. The form of the landscapes alters and the cold air no longer hinders the breathing. Slowly meltwater seeps out underneath thick layers of ice, slowly building up in momentum and space. Layers of hypnotic atmospheres with barely perceptible undercurrents, brooding pulses of bass and tonal patterns lead to the core of the sonic landscape. Gently radiant layers of light and soil emerge and aquatic echoes expose new paths. The water is harnessed. Preparations for a long journey have begun.

Scandinavia

Multicast Dynamics - Scandinavia

Track from the never-released Die Nachtstunde album 'You collect me' (2016).

Die Nachtstunde - (you collect me)

MULTI Pt#4

Klaus Schulze

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