Will i see the light..?

In my room  -Chance Peña

original song by Glare -

https://on.soundcloud.com/UTS9XjwPTfGEGdzg8

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slowed remix by me (i don't take credit for any of the song's components all credits go to the original creator, all i did was slow down the song and loop it.) PLEASE DONT TAKE THIS DOWN SOUNDCLOUD ALL CREDITS TO THE ORIGINAL CREATORS!!!

void in blue - glare (slowed + outro loop)

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

there is a hook in me (demo)

pain pulsing v2 - prod. by rai4real

Infinite Stillness is a journey inward.
A collection of pure, instrumental drone, ambient pieces, no vocals, no rhythm, no distractions. Just space. Just breath. Just presence.
This album is created for deep rest, meditation, yoga, breathwork, ceremonial settings, and psychedelic or plant-medicine journeys.
Each track unfolds like a slow-moving landscape, offering warmth, grounding, and a sense of timeless stillness.
Where other music pulls you forward, Infinite Stillness allows you to sink, gently, safely, fully.
The textures open the body but stay minimal and monotone so the nervous system can soften, unwind, and let go.

Return to Silence

Man On The Moon II: The Legend Of Mr. Rager

Mr. Rager

Single from Water Memory, out December 21st 2017.

preorder: mlesprg.bandcamp.com

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Water Memory began as an imagination of the feelings that are floating through the natural world around us. It morphed and cycled and gained memories of my own which are now contained like those in all bodies.

Water Memory 1

سيمفونية شهرزاد - ألف ليلة وليلة ‎

Edited Version of You'll Be Fiiinnne, taken from The Withdrawing Room LP (Pathway006)

Seek solace. Be still and drift. Withdraw and be there. There. Inside. A chair awaits. A beginning built from an ending, from leaving, from afar. In times such as these, The Withdrawing Room is a safe haven to leave behind all that weighs heavily and surrounds us. We remark how comfortable the chair is, how exquisite the view is outside the window, the aroma, the breaths to be taken as you become aware of the minutia all around you and the sounds emanating from Mary Lattimore’s harp, warming your feet, your hands, your heart. Breathe. Previous collaborations have seen Mary matching wits with such esteemed luminaries as Thurston Moore, Meg Baird, Kurt Vile, Ed Askew, Fursaxa, and Jarvis Cocker. But for this debut work, Mary sequestered herself in a room, much like this one, to kindle three distinct works for keeping the listener company as he or she enjoys the view. The nuanced notes of the harp strings sing and reverberate amid subtle electronics courtesy of Jeff Zeigler on the 24-minute long piece “You’ll Be Fiiinnne;” “Pluto the Planet” meanders at a slow and steady pace as the sun makes its way across the sky and the gentle plucks of the silk and steel resonate within, beyond; the closing chaos of “Poor Daniel” charts a recklessness that embraces the listener as he or she quietly makes their way out of the room to tackle the world anew.

CREDITS + INFO

Recorded and mixed by Jeff Zeigler at Uniform Recording
Mastered by James Plotkin
Artwork by Becky Suss – 76 Meadow Woods Road, oil on linen, 72 x 120 in
Design by Chris Koelle
Mary plays a Lyon & Healy Style 30 harp and Line 6 looper
Jeff plays the Korg Mono/Poly on Track 1

Mary Lattimore - You'll Be Fiiinnne(Edit)

Taken from the upcoming album 'Every Night Draws the Same Crowd' on Fluid Audio in the next couple of weeks...

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Squanto is Ben Lovell from New York. Ben has been releasing his home-recorded experimental folk music on small-run CD-Rs and tapes since 2009, primarily on his own Lily Tapes & Discs, but also on other labels including Rok Lok Records, Diving Station, and now Fluid Audio.

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This album was written and recorded 2011-2013 between bedrooms at school and at home, inspired and informed by long aimless walks through familiar neighborhoods in the dark, trying to pretend that eventually there would be something different behind the houses.

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Music by Ben Lovell, drums on "To the Grid and Back" by Sean Kelly. Thanks to everyone in Rochester and LI and everywhere else for your friendship and support, and thanks to Dan for making this release possible.

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www.fluidaudio.co.uk

Squanto - Parts 3 & 4

Leeuwenstein is the musical identity of Alex van Leeuwen, producer, songwriter, where he transforms inner journeys into immersive, ritualistic, and psychedelic soundscapes, a Dutch artist and ceremony guide who healed from PTSD through plant medicine. His music is crafted as a sacred space: a blend of shamanic tradition and electronic innovation, with tribal percussion, ambient textures, and angelic female vocals.

Leeuwenstein’s live performances and sound journeys are deeply immersive, supporting inner healing, movement, and expanded states of consciousness. Perfect for psychedelic ceremonies, truffle experiences, and conscious festivals, his albums, such as Frozen in Time, Rhythms of the Cosmos, and The Green Path, are widely used as tools for transformation.

Leeuwenstein invites his audience not just to listen, but to feel, remember, and return home to themselves.

Though rooted in healing music, Leeuwenstein occasionally ventures into political territory, crafting powerful protest songs that reflect on war, freedom, and the future of humanity.