In demand drummer for Melt Yourself Down and the Owiny Sigoma Band, Tom Skinner, steps out of the spotlight from his recent worldwide successes to rework Kit Grill's track "Velodrome" with an all live set up. Contrasting from the original's very digital tone, Skinny has brought in the help of his previous collaborator, Shabaka Hutchings. Aware that Kit wasn't too keen on having remixes done, Hello Skinny thought it would be more interesting to do a cover version. The idea was to replay some of the core melodic and rhythmic material but rearranged loosely for a more acoustic set up. Hello Skinny started off as a duo between Tom Skinner and clarinetist Shabaka Hutchings so it made sense to go back to this original format for the basis of this cover version.
The whole piece is built around a one-take performance of the main theme from Shabaka on clarinet. A feat of human physical endurance, he manages to maintain the repetition of the part whilst changing the timbre and texture through circular breathing and other extended techniques. We then overdubbed the counter melody and a bass clarinet part. Having the overall shape of the piece, Hello Skinny was able to play a live drum take along to it.
With a bit of extra percussion, liberal use of delay and some distortion the track was taken to close friend and collaborator Chris Morphitis to mix. The whole piece was bounced to 8-track tape and mixed to 2-track tape utilizing his beautiful Studer desk and gorgeous plate reverb. Job done.

Kit Grill - Velodrome (Hello Skinny cover)

Shifting Sands

Cepheid Dreams is a star collapsing and expanding in sound. It begins with faint pulses, then swells into a dense, shimmering storm of noise and melody—an audio supernova that blurs glitch, drone, and cosmic rhythm. The track is both dreamlike and relentless, echoing the light curves of Cepheid stars as they throb across the galaxy.

Cepheid Dreams

This track was born from the Bargaining chapter in “While They Were Sleeping” a moment where the main character pleads with a shattered world, begging to save those trapped in silence. But he can’t. This song is for them.

It’s for every voice that was buried too soon. for the peoples of every land suffering. For every girl who was silenced. For every boy who was forgotten. For the ones who screamed and were answered only by dust.

Musically, this is not a song. It’s a grave. It’s a prayer. It’s the sound of trying to carry an entire people’s suffering in your chest, and realizing that no melody will ever be loud enough to resurrect them but still trying. Still playing. Still lighting the candle.

“Can’t You Hear Their Voices” is for the ones who were erased, but never truly gone. It’s for the ones whose echoes live in the fire of every story we dare to tell. Listen closely. They’re still here.

Can’t You Hear Their Voices

2 MOŻE JEDNAK - MAYBE - HOWEVER

'Silhouettes (I, II & III)' is taken from the new album 'Elaenia', out now on Pluto in the UK & Rest of World, Luaka Bop in N & S America, Inertia in Australia / NZ and Beatink in Japan.

Get ‘Elaenia’:
iTunes: http://found.ee/ElaeniaiTunes
Vinyl: http://found.ee/ElaeniaLP
CD: http://found.ee/ElaeniaCD
Download: http://found.ee/ElaeniaDL
Rough Trade: http://found.ee/ElaeniaRoughTrade

Watch the video for 'Silhouettes' here:
http://found.ee/SilhouettesVideo




Get 'Elaenia'

Silhouettes (I, II & III)

Taken from the Kuiper EP out on Pluto (UK/ Eu), Luaka Bop (N & S. America), Inertia (Au/ NA), Beatink (Jp)

Vinyl released 22nd July 2016
Pre-order here: found.ee/KuiperEP

Released digitally on August 5th


Stream Kuiper:
Spotify: found.ee/KuiperSpotify
SoundCloud: found.ee/KuiperSC

Download Kuiper: 
iTunes: found.ee/KuiperiTunes

For Marmish Part II

Taken from New Hymn To Freedom:
http://szunwaves.bandcamp.com/album/new-hymn-to-freedom

Szun Waves - Temple

Early in 2018, the world was introduced to Mildlife through their debut album Phase. Few first releases amass praise from Mojo, The Guardian, BBC 6 Music, The Express, and Shindig, then go on to be celebrated by DJ Mag, Resident Advisor, Worldwide FM, Dummy and Indie Shuffle. But it’s precisely this eclectic mix of genres, tastes, and influences that brought Mildlife together, and what they committed to reflecting in their sound. After a surreal start to 2018, the four-piece completed a sold-out national tour of Australia, and recently announced plans to cross the oceans for their debut Europe and UK tours.

With the release of their debut imminent, Mildlife took retreat at Research Records HQ in Melbourne, staying overnight after recording each morning and afternoon. It resulted in the evolution of the title track, newly imagined and re-contextualised at increased tempo with swathes of improvisation throughout. The studio recording was the culmination of the song’s growth in a live setting, evolving on club stages and at festivals throughout 2017.

Mildlife’s knack for locked-in grooves and celestial tones features heavily across ‘Phase II’, a more than 11-minute sonic journey. Kevin McDowell's synth soars while Adam Halliwell’s growing prowess as a flautist is peppered over James Donald’s shimmering percussion. Shortly after, Tom Shanahan's phased bass appears, and the four lock into a groove that gives a subtle nod to 1960s Krautrock band, Can. It’s not long before ‘Phase II’ erupts into a cosmic jazz-funk that urges you to move. It sucks you in, free of worry and consequence; utterly otherworldly. It’s no surprise that the band has been described as “kaleidoscopic”, “irresistible” and “enchanting”. With Mildlife, you’ll always leave wanting more.

Shifting Sands

Kinkajous

Recent comments

Garry Gatling

stemtii

Related tracks