One musician. 2 saxophones, bass clarinet, trumpet, kalimba. Effects and Looper. It's all.

Hikikomori

Eben Kidnappers

Violent Freedom

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

This album is also part of Lost Tribe Sound's Salt & Gravity Series:
https://losttribesound.bandcamp.com/album/salt-and-gravity-series

Last year in and out of lockdown, Dupé made an album about his great-aunt Margaret, who spent her entire adult life in service at Abbotsford Convent. Margaret’s life story was both ordinary, and even more so in hindsight extraordinary. She lived a life that would be considered extreme today… a life without freedom. Reflecting upon her life proved to be humble, emotional, and fertile ground for 21st-century perspective whilst exploring narrative and biography through music.

While the music serves as most uninhibited expression of Margaret’s story, these writings from Dupé help provide further insight into Margaret’s life: 

Margaret was my grandmother’s sister, I didn’t know my grandmother but I met Margaret several times as a child. We would drive all day from Canberra to Melbourne from before light to after, to spend time with our relatives since both my parents were born and raised there.

Visiting this diminutive elderly woman with white hair in a bun and black habit and large crucifix was a strange procedure since she was clearly a prisoner in this convent. With both of her parents dead, her sisters put her into Abbotsford Convent as a grieving nineteen year old unwed mother.

A nun would sit at our table listening to the conversation to remind us all of that fact. Margaret was a “bad girl” and as such had been kept away from the children and reforming girls that were also in the convent. She existed within this small village of impounded women, day by day through two world wars, Vietnam and the death of her entire family. She slept in a dormitory, rose at five for prayers, worked in a laundry all day and had only one possession, a secret radio to listen to the races and footy. Her dormitory was in a building within a grey concrete courtyard which was gated and had one tree within it whilst restricted beautiful grounds lay all around.

As a teenager, Margaret was working for a married farmer in the western districts and had fallen pregnant to him (I don’t know if it was consensual) and had a child which she named Eileen after her favourite sister. The child was taken away and when she had another child a year later with the same man, she also called her Eileen (probably believing the first child had died). The first Eileen lived and went into the world equally oblivious to her mother’s plight and the second Eileen died after birth and was quietly buried in a suburb in Melbourne where Margaret would be buried 65 years later.

When she arrived at the convent, Margaret was given a new name and the gate closed behind her for the rest of her life. My father loved this wiry rebel (named Jock by him for her jockey-like stature) who lived both a hard and a sheltered life. Researching and reflecting on Margaret’s life made me deeply consider gender, class, compassion and the Catholic Church as connected to my family and more broadly. The archives from the convent where she lived for over six decades provided no trace of her existence except for a record of being slightly ill twice in the 1960s… no photographs, no accounts of any activities or interests.

Margaret Hammett Lived

I had a friend

Tony Dupé - I Had A Friend (from Margaret Hammett Lived)

CD/DL: https://federicomosconi.bandcamp.com/album/air-sculptures

Federico Mosconi's 'Air Sculptures' is the seven release in Lost Tribe Sound’s album series, Salt and Gravity. The series includes albums from Arrowounds, Adrian Copeland (aka Alder & Ash), Tony Dupé (aka Saddleback), ’t Geruis, Federico Mosconi, sanr, mastroKristo, and Alapastel. To receive 'Air Sculptures' on CD or Digital at a discount, subscribe to the series here: losttribesound.bandcamp.com/album/salt-and-gravity-series

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LTS has been following the work of Italian classical guitarist and composer Federico Mosconi since first hearing ‘Light not Light’ released in 2019. We were impressed by the album’s balance between solemn guitar movements, abstract noise, and subtle industrial pulses. At the time, describing it as if GAS retired off the coast of Italy and took up classical guitar. Since that time, LTS has stayed in contact with Mosconi waiting for the right album to combine efforts, enter ‘Air Sculptures.’

‘Air Sculptures’ creates space for Mosconi’s signature classical guitar work, though it remains far more shadowed than previous efforts, taking on a vaporous and elusive quality.  Flow is ushered along by a strong reliance on rhythmic patterns to outline the contours of many of the songs. These are not the straight-forward beats one might find in electronic music, these fleeting stomps and flickering percussions serve as a grounding presence while still allowing a malleable freedom to exist in the overall composition. In essence, the texture of the percussion is a wonder, soft… like muted bamboo chimes clacking in the wind, coarse… like gravel falling from the hand, deep… like burying a mic a few feet below ground and pounding the earth above. 

‘Air Sculptures’ melodically speaking, feels akin to the monolithic drone work of Rafael Anton Irisarri. Origambiro also comes to mind when referencing Mosconi’s use of found rhythms, made from a multitude of dropped and collided objects. Yet the most luminous moments, ultimately belong to the classical guitar. Mosconi doles out a blend of triumph and sorrow with the strings, comparable to the likes of Western Skies Motel or Yadayn.

Air Sculptures

Federico Mosconi - Air Sculptures (Album Preview)

Support and follow @Aaron-Martin on Bandcamp here: https://aaronmartin.bandcamp.com/album/the-end-of-medicine-original-score

Watch the film: https://www.theendofmedicine.com/

Lost Tribe Sound catalog: https://losttribesound.bandcamp.com

After working on the short film score for Alex Lockwood's "Test Subjects" in 2019, the BAFTA award-winning director again approached Aaron Martin about working on the original music for his first feature-length documentary film "The End of Medicine" with Rooney Mara and Joaquin Phoenix acting as executive producers. The documentary explores zoonotic diseases and antimicrobial resistance, which threaten the health and lives of the entire human population.

The End of Medicine (Original Score)

A Signal and an Oath

Aaron Martin - A Signal and an Oath (from The End of Medicine)

From our Album "Inseln", released on Whitelabrecs

Support

Logic Moon & Henrik Meierkord  - Inseln

Purchase album: https://thephonometrician.bandcamp.com/album/c-iste-bodhar

Death arrives in many forms, and it is often at the root of many mythologies and lore. The new album titled, ‘Cóiste Bodhar,’ from multi-instrumentalist The Phonometrician is a work inspired by two such narratives. This is the second full-length album from Mexico City based musician Carlos Morales under the alias.

The Phonometrician holds true to his core instrumentation throughout ‘Cóiste Bodhar,’ using an acoustic guitar, a Venezuelan cuatro, and synths to give the album a push towards the realm of dark folk. Returning are Morales’ signature low end stomps, which seem well-suited for the topic of death. These heavy marching rhythms share commonalities with those one might expect to hear from the martial industrial or ritual scene. Yet in combination with the cyclical guitar melodies, the dooming percussion never seems to weigh down the compositions. Also for the first time Morales invites a collaborator, with Adrian Copeland (aka Alder & Ash) delivering a scorching cello performance on the song "Death Rides a Horse: Part II.“

Cóiste Bodhar

Death Rides a Horse: Part I

The Phonometrician - Death Rides A Horse: Part I (from Cóiste Bodhar)

Buy Polarity here: https://williamryanfritch.bandcamp.com/album/polarity

‘Polarity’ is the first in a three album series reflecting on the many calamitous water crises affecting life on this planet.

Fifty percent of the sales for the three album series will be donated to communities that are at the front line of these crises, in perpetuity.

First round of donations have and are being directed towards:
https://healthyalaskanatives.org/fund/healthy-communities-fund/climate-impact-response-fund/

Much of the sound of Polarity was inspired by experiments in “real world-ing” various synthesized and electronic signals through modified speakers, transducers, solenoids and a multitude of electromagnetic drivers. All of which allow the sounds to be captured as acoustic phenomena resonating through various materials and liquids. For years, Fritch struggled to find a way to meaningfully utilize synthesized sounds and direct input signals in his music. So much of his relationship with composition and music in general is founded on tactility and proximity serving as vital determinants in how a piece of music is performed and developed. Fritch finally found relief from this through the utilization of hydrophones, ceramic PZM mics and unique contact mic setups to capture these sounds in a way that let him feel and see the vibration, resonance and energy from these circuits.

Polarity

Blistering Wind

William Ryan Fritch - Blistering Wind (from Polarity)

Kaya North's album 'Myths' is the first album released as part of our Maps album series.  More info: https://lnk.to/poisonmaps

Lost Tribe Sound's 2023/2024 album subscription series “Maps To Where The Poison Grows” or if you prefer “Maps Series” for short. The subscription series features 11 new full-length albums by From the Mouth of the Sun, Skyphone, Claire Deak, mastroKristo, R.A Sanchez (Black Baptist, Pale Hearse, Tokyo Bloodworm), Lavatone, Kaya North (Caleb R.K. Williams, Eagle Stone Collective), Drawing Virtual Gardens, Civic Hall (Euan Millar-McMeeken and Craig Tattersall), and Corrado Maria De Santis.

Like the lava that forges the mountain, by the solar blood that burns the destiny, We recite the forgotten rites. Marble is death, Dark are the offerings. The farewell to the void hums, primitive hymns building the temple. Circle of hands and bones, we sing the collapse, let the beings of the ritual be born.

Myths

Invok (Pure Kult)

Kaya North - Invok (Pure Kult)(From Myths - Maps Series)

Track taken from the upcoming album 'The Topologies of Blue'...

Bill Seaman - Piano, Piano Libraries, Sample Compositions, Samples, Abstracted Percussion, Non-location Recordings, Electric Guitar Abstractions 
Wei Ping Lin – Violin Solos 
David Rothenberg - Clarinet, Bass Clarinet, Contralto Clarinet Solos
Sid Richardson – Upright Bass Libraries
Tim Bjorklund – Electric Guitar Libraries
Volkmar Klein, Sound Engineer for initial violin recording

...

Produced by Bill Seaman
Mastered by James Plotkin 
Cover design by Ian Hazeldine 
Overall design by Daniel Crossley

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Special Thanks to all of the musicians + John Supko, Craig Tattersall, Volkmar Klein, Maura Walsh-Seaman, Dan Crossley & James Plotkin.

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www.fluidaudio.bigcartel.com/mailing-list

The Topologies of Blue

Bill Seaman - Isolated Reflections / Dark Slippages / Falling Inward / A Collection Of Repercussions

Kalimba, saxophone, bass clarinet, effects and looper. And some keyboards.

Astronaut

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.

Kaya North - Invok (Pure Kult)(From Myths - Maps Series)

Lost Tribe Sound

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