Bersarin Quartett  Es kann nicht ewig Winter sein...

Autumn

Autumn Sky

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Madeleine Cococlas - Autumn Sky

Listen / Purchase: https://lnk.to/sleepstations

From the Mouth of the Sun (aka Aaron Martin & Dag Rosenqvist) return with ‘Sleep Stations,’ an EP of six new songs, out May 18th, 2018 on Lost Tribe Sound. ’Sleep Stations’ rests comfortably alongside 2017’s ‘Hymn Binding’ their third full-length album and their original score for Joshua Z. Weinstein’s feature film, ‘Menashe.’ With ‘Sleep Stations’ the duo assures us that their exquisite palette of classical leaning, electro-acoustics reaped from their previous albums still leaves much to be explored.

Footage taken from NASA/JPL/University of Arizona

Sleep Stations

Reaching When Nothing Is There

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From the Mouth of the Sun - Reaching When Nothing Is There (from Sleep Stations EP)

From upcoming unreleased tracks album 'Fragments'.
https://thesafety.bandcamp.com/album/fragments

Cove

Listen / Purchase: https://lnk.to/mscars

Meander scars are geological features formed by the remnants of winding or meandering water channels. They are caused by the varying velocities of current within the river channel.

Lost Tribe Sound's second installment in its 8 album subscription series, 'We Stayed The Path That Fell To Shadow' comes courtesy of friend, musician and talented music writer, Gavin Miller. While his name may not be instantly recognizable to some, Gavin has been creating music for nearly a decade as one half of the sublime electronic ambient duo, Worriedaboutsatan, and has quite a few solo releases under his belt. In addition, Gavin has been a invaluable force in bringing many overlooked musical acts to the forefront through his brilliant writings for the UK publication, Drowned in Sound. 

'Meander Scars', Gavin's new double album is very much a departure from his previous output. While the use of acoustics has always resided in the backdrop on many of his solo and group efforts, it's plain to hear that with 'Meander Scars' these natural elements have risen to the top. Lost Tribe Sound is the ideal home for a Gavin Miller this delicate and organic. 

The aerial visuals formed by meander scarring and the origins of their creation, fit both the artwork and the vibe of music incredibly well. The long-form compositions were constructed from a series of slow churning rhythmic guitar loops, warm noise, soft synths and distant choirs which build over time into colliding patterns of pastoral bliss. Patient and mindful listening is key for these innocuous sounds to begin to carve their saturated pathways through the mind. Much like a river meandering over thousands of years, slowly dragging away the sediment and scaring the surrounding land, these pieces begin to take form, eroding away the malleable earth, letting gravity take hold to travel the course of least resistance.  

Being the ever curious and meddling types here at LTS, we engaged multi-instrumentalist and label mate Aaron Martin (From the Mouth of the Sun) to utilize his gorgeous cello sounds and other odd bits in his musical arsenal to fill out moments in the songs. Graciously, Aaron joined in, adding trembling washes of strings, chimes and other indiscernible noise to Gavin's compositions. Gavin than revisited his original material, carefully layering and balancing in the new instrumentation from Aaron. 

Excited by the results, Gavin shared them with us, and it was undeniable that Aaron's arrangements had created deep new conduits for the ears to follow. Yet, it wasn't until this moment that we fully appreciated the beauty of the original works. Torn by which versions to present as the final album, we realized why not present them both.  

Each version had a seemingly different affect on our conscious. The 'Upper Course' with Aaron Martin's additions, flows very much like a young river, faster, more active and commands the listener to be more attentive. Whereas, the original source material of 'Lower Course' mimics the behavior of an older river, slow flowing, in moments coming to a crawl. It's no longer the force able to move large boulders from its path. Yet in its stripped down form, it allows the listener to more easily traverse its tame currents, becoming the perfect cyclical backdrop needed for writing, drawing, and a multitude of other tasks requiring increased mental faculties.

Meander Scars

Upper Course I

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Gavin Miller - Upper Course I (feat. Aaron Martin)(from Meander Scars)

Available here:

https://www.fluidaudio.co.uk/product/the-seaman-and-the-tattered-sail-standing-on-the-precipice-of-tears

Taken from the upcoming album 'Standing On The Precipice Of Tears'...

Tattersall played Guitar, piano, dusted loops, analogue loops, digital loops, drum machine, analogue synth, synth bass, field recordings, abstractions, fragment constructions and reconstructions, abstractions of Seaman (etc.), analogue spatial recordings, artificial wind, crackles (record surface noise), tape noise.
 
Seaman was working primarily with Ableton Live and contributed vocal, Piano, time abstractions, violin and viola samples, trumpet samples, clarinet samples, drum machine abstractions, drum machine constructions (samples), digital distortions, bit reductions, synth abstractions, abstractions of Tattersall (etc.), digital loops, radical pitch shifts, noise enhancements, historical samples, crackles – record surface noise (from Tattersall), artificial crackles.
 
Solo Viola – Emmanuel Witzthum
Solo Violin – Wei Ping Lin (on Uncovered CDs)
Additional Voice - Emmanuel Wizthum
Trumpet (sample recordings) – Robert Ellis-Geiger
Vocal recorded in The Emergence Lab by Seaman using a Roland Edirol R-09HR Ver.3.0

www.fluidaudio.bigcartel.com/mailing-list

Standing On The Precipice Of Tears

The Seaman And The Tattered Sail - Standing On The Precipice Of Tears

To shed some light about how the piece was created, Will has shared some insight into how he went about approaching the concept of Scale.

'Throughout my career I've almost exclusively relied upon my ability to perform and record all the elements of my arrangements through multi-tracking as the means for realizing my compositions.

Because of this I am all too familiar with having to wrangle with proximity effect (how close an instrument or sound source is to the diaphragm of the microphone) and how can either aid or negatively impact a compositions sense of space and convincing ensemble qualities.

When Jim Perkins approached me about contributing to this compilation and mentioned the overarching theme was "scale" I immediately thought of how I might use proximity effect as a guiding identity for a composition.

For this project I decided to disassemble a few music boxes and experiment with using some of my larger instruments (my harp, Concert bass and kettle drum) as resonators for the boxes and mic'ing them at a good distance away from the attack of the tines giving these tiny little instruments a sound far more resonant than they would've had in there original cases. I pitted these ideas against the sound of the highest register of several larger instruments (Harp, Contrabass, cristal bichet and piano) playing the very highest register they could muster, mic'd them extremely close with small diaphragm mics to emphasize the attack and smallest minutiae of performative gestures. I continued to build on this inversion of physical size and pitch relationship for all the subsequent overdubs and arrangement (bass clarinet playing super high multi-phonics, the viola being tuned down a whole fifth and playing two octaves below the basses artificial harmonics etc etc)

It was a joyful little exercise and the tonality and spirit of the peace represents that enjoyment, I think!

Scale

William Ryan Fritch - Disproportionate Joys

Dronarivm achieves a new orbit. The Aquarius project is a whole constellation of emblematic names. Specially for this conceptual compilation iconic figures of the ambient scene from 10 countries of the world  recorded 14 exclusive tracks. Gradual submersion into the cosmic ocean turns into a meditative diving in the subconsciousness, deep-water exploration of the internal Universe. Unsteady acoustic space changes every moment its unstable shape, but in this state of zero gravity one feels completely at ease. Every musician’s style is inimitable in its individuality and readily recognizable, but all tracks have one general concept, and every track takes its niche in a well thought-out composition of the album.

Featuring: Federico Durand / The Green Kingdom / Pjusk / Melodium (offthesky drone mix) / Simon Whetham / Loscil / Marsen Jules / Fabio Orsi / Pillowdiver / Machinefabriek / Hakobune + Hiroki Sasajima / Francisco López / Pleq + Mathieu Ruhlmann / Yann Novak + Segue (bonus track, only digital download)

Release date: February 28

Compiled by Bartosz Dziadosz (Pleq)
Designed by E. Plushbeareat
Managed by Dmitry Taldykin
Mastering by Jason Corder

Order your copy - http://dronarivm.com/2013/02/25/va-aquarius/

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Loscil - Hemlock (from "Aquarius" compilation)

Matthew Shaw’s travels continue. His wanderings have led him to Seatown, Sandbanks, the woods of Zeist, and the inner city of Vancouver. Now he documents a week-long trip to Lamorna, Cornwall, in the summer of 2012.

Shaw writes: “The recordings were made in the Lamorna valley, the cove, the woods and also within the Iron Age Boleigh Fogou which is an underground structure over 2,000 years old. The Fogou derives from the Cornish for Fou or Vou, meaning cave.”

“In terms of the sound of the finished music, it was recorded largely on location using acoustic guitar, bowed guitars, Moog Prodigy, my voice and a sprinkling of effects where required. It relied on the sounds of the places themselves, the trees, river and Fogou in particular. The mixing process was based on taking these raw ingredients and sculpting them into a finished whole, with the place as the focus.”

The result is a slow tide of strings, ambient vistas, and delirious harmonies that echo, then dissipate into the eponymous landscape. From the inner triumph of “Rosemerrynwood” to the tense and pulse-quickening modern composition “Bo-Lech” and the buoyant, living title track, Lamorna is a remembered call from an ancient place.

Fluid Audio presents Lamorna in a limited edition run of 100 hand made letter pressed CD’s, along with 6 large format (150mm x 150mm) double sided photographic prints taken by the artist on his journey. The package also includes a natural Larch wood slice, pressed Viola flower, rare poem by Ithell Colquhoun, download code and scent. All of the above rests inside hand typed/numbered/sealed Manilla envelopes.

Release Date: 29.03.13

Matthew Shaw: Bo-Lech

Porya Hatami & Lee Anthony Norris - Every Day Is Like A New Drug

Unknown Tone are pleased to share an early preview of the track
"Perfume Technique" by Porya Hatami & Lee Anthony Norris. The full length album "Every Day Feels Like A New Drug" is
Porya Hatami & Anthony Lee Norris first full length album for Unknown Tone and will be
out in an edition of 100 limited edition CDs // August 2013 //
www.unknowntonerecords.com

Album Tracklist:

1. Strand
2. Perfume Technique
3. And The Birds Flew In A Different Direction
4. Orpheus In The Willow
5. On The Edge Of The Mountian

Porya Hatami & Lee Anthony Norris - Perfume Technique

Christina Vantzou is 1/2 of The Dead Texan (a project shared with Adam Wiltzie of Stars of the Lid). Christina explores similar terrain with "11 Generations Of My Fathers" which is taken from the compilation, 'SMM: Context", due March 1, 2011 of Ghostly International.   

Christina Vantzou - 11 Generations Of My Fathers

Lost Tribe Sound is a record label that specializes in organic and exploratory sound. Lost Tribe Sound admires music that leaves its tattered edges proudly in place, acoustic instrumentation blended seamlessly with dirty mechanics, timeworn sound worlds rooted in the muck and the mire of the present. The sound generally falls along the lines of bizarrely rhythmic, beautifully decayed electro-acoustic music, often with a reverence for low-end. LTS focuses on full-length albums, with a strong commitment to well-made packaging. The aim is to unearth timeless music that pushes the envelope of modern composition while paying homage to the ancient.

Gavin Miller - Upper Course I (feat. Aaron Martin)(from Meander Scars)

Lost Tribe Sound

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