from 'Evighetsblomma': https://purl.bandcamp.com/album/evighetsblomma

'uncovered some 
glimmering remnants of a past life 
in a long forgotten part of 
my garden of sounds 
didn't want to bury them and 
forget them forever 
so dusted them off 
to let them tell their fragmented tales 
of dreams long gone 
indefinable longing 
and wonder'

Music by Ludvig Cimbrelius 

Art by Magda Kozuba ∣ www.instagram.com/magda_kozuba/

Evighetsblomma

Like it never was {cut}

OKADA - Fucked Up Inside

More info and buy links: https://asip.me/asipv017
James Clements (https://soundcloud.com/asc) debuts his first full-length album under his Comit alias, titled Remote Viewing.

Born out of his love for music that was often classed as ‘IDM’ during the mid-to-late 90’s, and labels such as Morr Music, City Centre Offices, Merck and Hobby Industries, Comit is a new avenue for James that builds upon his background in drum & bass, his ambient projects for the likes of Silent Season and his admiration for a more nostalgic electronic sound.

It was this appreciation for early IDM that became the impetus for James' infamous Deep Space mix series in the early 2000’s and resulted in a brief output of inspired productions as both ASC and Intex Systems. But this sound never fully evolved until it became a devoted project. The first outing for the Comit alias came as a limited 7” on the Short Trips label in 2016 and is now finally presented in its realized form within Remote Viewing.

Broken, glitchy breakbeats weave amongst emotive and often melodic chord progressions, all stemming from James’ expansive collection of analog synthesizers. It’s a sound that feels distinct and very separate to James' music as ASC, whilst adding a new evolution to the genre we may have previously described as IDM.

Remote Viewing is available as a Transparent Orange Gatefold 2LP and digital download. Featuring artwork by Noah M / Keep Adding and mastered by City Centre Offices vet, Andreas [LUPO] Lubich @ Calyx Mastering, Berlin.

Released: 12th August 2019

Comit / Remote Viewing (ASIPV017) [Previews]

Записи выступлений с концерта X.Y.R. от 3 августа.
@x-y-r
@gas28a
@vee-zee

X.Y.R — Live @ 03.08.2019, Екатеринбург, ГЦСИ

Sloclaps

I’ve been listening to a lot of dark, deep, and experimental sounds throughout the years, but somehow they are all that much appropriate these days, as our moods shift from the positive outlook of the future, into the doom, gloom, and the end of days. I won’t reflect on things that have been said before or are currently being said, reviewed, rehashed ad nauseam, on every single outlet with a view. Until there is new information, there is no point in using words to reassess. Instead, let’s turn to music that speaks louder than the rest. Today I am premiering a track by Chicago-based Michael Vallera taken off his third upcoming album on Denovali, titled Window In due to be released on April 24th, 2020. This is a drony, dense, and tasty record, full of dynamic tension, movement, and expanse. “Raw studio recordings of the electric guitar were taken as the foundation, then heavily altered and manipulated through sampling, erasing the trace back to the origin of the sound.” A fitting track for gripping times.

Window In

TRACK PREMIERE : Michael Vallera - Hours

some funck electro vibes 

new one for Funck'd

Funck'd

Tychon Donodus

Huellas Entreveradas

Deux Dents Dehors

The Mother's Hand Trembled, It Could Not Recognize The Worms That Carry The Night On Their Backs

Don't Worry About The Darkness, Mother, It Conceals Nothing

Dragon’s Eye Recordings is pleased to welcome back Kamran Sadeghi for his first release on the label since 2008. On BETWEEN US, Sadeghi explores life in quarantine by directing his listening attention towards the element of our homes that is both sheltering us and giving us a glimpse of the outside world—the window.

BETWEEN US was created using field recordings captured with DIY contact microphones attached to the glass window of Sadeghi’s home in Brooklyn. These protective barriers in the buildings we inhabit operate as a filter from the outside elements. Sadeghi describes the impulse of "wanting to hear the sound outside as it was being transformed to what I was hearing inside." Each recording's tonal slips due to the presence of sonic artifacts such as resonance, noise, low rumble, feedback, and cyclical hum (caused, in part, by the microphones' excessive gain) suggests a gauzy, shifting passage of time at a distance.

The Mother's Hand Trembled, It Could Not Recognize The Worms That Carry The Night On Their Backs

Lapith Girl

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