Hey would live to know what effects your using on the guitar or is it post sonething? Thanks love your sound 👌✨💗✨ love the driving forward and warpdness :) sunset vibes 

If you can love some kids more than others I pick this one but don't tell my other kids

Do You(studio version)

This track appears on LIES011.5

http://www.discogs.com/Torn-Hawk-Tarifa/release/3674468

A Piece of the Storm

La Nuit 'Road Snakes'

Caterina Barbieri & Kali Malone - Glory (Final Movement)

The final movement of Glory is a slowly evolving canon for two electric guitars pouring landscapes of bliss from the pythagorean region of the harmonic spectrum.

Composed at EMS in Stockholm SE 2015.
Recorded at Villa Strozzi in Florence IT 2016.

Side A from XKatedral Volume III
Edition of 100
Released on October 6th 2016

Caterina Barbieri & Kali Malone - Glory (Final Movement)

Spielraum | Allgegenwart | Strahlung

Grischa Lichtenberger - "002_1215_re111506_re_0712_10gb"

From Beatrice Dillon's 'Can I Change My Mind?' 12" out now on Boomkat Editions.

Beatrice Dillon - Can I Change My Mind?

Curated by Palmbomen II & Betonkust
Mastered by Brendan Zacharias at Cirrus Audio

MDM P

Palmbomen II - In Bath With A Salmon

Track 1 from Lea Bertucci 'Metal Aether' [NNA108]
Available February 9th, 2018 on Vinyl, CD & Digital formats.
Order: http://nnatapes.com/available-releases/lea-bertucci-metal-aether

Metal Aether

Lea Bertucci "Patterns For Alto"

Taken from the Assimilation LP
Available here - wheretonow.bandcamp.com/album/assimilation

London based artist Ben Vince is best known for his minimal & transcendent saxophone soundscapes. With ‘Assimilation’ we find Ben treading new ground with his recorded output, moving away from the limitations of solo Saxophone, instead embracing collaboration and communication to forge new paths. Whilst Vince’s Sax work still undeniably holds ‘Assimilation’ together, the new territories explored by working with an artistically diverse range of collaborators allows new life and influence to flow through Ben’s work. The album features collaborations with Micachu (Mica Levi), Rupert Clervaux, Merlin Nova, Valentina Magaletti, and Cam Deas. Ben Vince has also recently collaborated on a 12” with Joy O (forthcoming on Hessle Audio).

Ben explains 'Assimilation' as being a “demotion from creator to vector, being bounced off by different forces, whilst also allowing the wilder elements of my playing to flourish, which I could previously only get to as band member in other endeavours I’m involved in - Housewives (Rocket Recordings) or Data Quack (with Charles Hayward).“

‘Assimilation’ dives right in with Vince assuming downtown skronk, perfectly complementing the commanding no-wave theatrical vocal prowess of Merlin Nova. ‘Alive & Ready’ serves as an avant-garde energy blast, launching us into orbit.

Ben’s next spatial movement glides towards ‘What I can see’, a collaboration with Mica Levi, here donning her Micachu moniker to deliver her signature downcast experimental pop dexterity across Vince’s beautifully treated sax scape. The results are a moving, considered, crafted piece which undeniably nods towards Arthur Russell’s ‘World of Echo’, encompassing that same timeless, ethereal beauty.

Mica and Ben’s moment of longing melancholy is short lived, as we’re shuffled along to ‘Sensory Crossing’, a collaboration with Rupert Clervaux in which he evidences his groundings in Jazz percussion, experimental electronics, and deep interest in ethnomusicology - further exploring and expanding on the basin navigated during his collaborative album with Beatrice Dillon ‘Studies I-XVII for Samplers and Percussion’ to create a blanket of bubbling, wired, frenzied yet fluid motorik groove. Vince’s improvisation here remains restrained throughout, conversing with Rupert’s movements rather than attempting to shadow or overshadow them, an idea which perhaps is cemented in his exclamation that “Collaboration, and also the wider idea of 'communicating' in general, is, for me, assimilating the other, becoming the other, at least temporarily, to forge a point of connection. When we are able to let down our barriers, let ourselves affect and be affected, we can truly communicate.”

‘Tower of Cells’, another percussion led collaboration features drummer Valentina Magaletti (Editions Mego), and sonic explorer Cam Deas (Death of Rave). Magaletti’s immersive, hypnotic, & deep styling holds firm Deas’ synth transmissions & Vince’s wandering, brooding, layered sax drone across 10 minutes of truly refreshing alien Jazz – Think the Necks mixed by Scientist on this one.

‘Assimilation’ rolls us out in fine style with Vince riding solo. Fluttering tonal Sax lines build and build before become interspersed with layers of fourth world styled exotic flurries. Held together by a single perpetual hypnotic bass thud ‘Assimilation’ brings to mind the similarly exotic experimental works of Muslimgauze & Jon Hassell. This final track essentially serves as a space for some reflection, joyously winding down a journey which manages to truly make the ethereal and the intense run alongside each other in perfect harmony.

Tracklist:
1. Alive & Ready (feat. Merlin Nova) 
2. What I Can See (feat. Micachu)
3. Sensory Crossing (feat. Rupert Clervaux) 
4. Tower Of Cells (feat. Valentina Magaletti & Cam Deas) 
5. Assimilation

Ben Vince 'Assimilation'

lauraliesin.bandcamp.com/album/tara-clerkin-trio

Order

Tara Clerkin Trio - Hellenica

@Nikolaienko Meets Arthur Mine: Nostalgia Por Mesozóica
Format: 7", limited to 100
Release date: March 6th 2020


After four years of silence that have elapsed since the release of “Ode To The Sea” LP back in 2016, Muscut is bringing out Nikolaienko’s next collaboration, a duo with Arthur Mine, a Kyiv-based keyboard maestro and an ex-member of the ‘Blacklazer’ band. 

“Nostalgia Por Mesozóica” is an exploration of "experimental exotica" consisted of synthesized tropical attributes — an artificial landscape isolated behind the glass frame. Reminiscent of recording techniques and sonorities ubiquitous in the 60’s and 70’s, it could conceivably have been intended as a soundtrack for the Mesozoic Era exhibition at your favorite Natural History museum.


Face A
A1 Troglodytes

Face B
B1 The Ancient Musical Complex Of Mammoth Bones
B2 Muzak For Mesozoic Showreel


Limited to 1OO copies.
Includes hand-numbered and stamped postcard.

Arthur Mine: Arp Odyssey (track A), Venta synth-organ (track B2)
Nikolaienko: modular synth percussion, tape manipulations, processing, effects.

Composed by Nikolaienko and Arthur Mine and recorded at Labyrint Of Echoes Studio in Kyiv during 2017—2019.

Mastering by Flaty (@producedbyflaty)
Photos by Dmytro Nikolaienko
Muscut 16, 2020

Nostalgia Por Mesozóica

Nostalgia Por Mesozóica by Nikolaienko Meets Arthur Mine (7", 2020) Excerpts

Listen to the latest Torn Hawk statement here: https://lnk.to/VV050. 
I make music as TORN HAWK, LUKE WYATT, SLADAZJ, INFINITI, etc, and release statements by myself and other artists on the label Valcrond Video.  http://www.valcrondvideo.com/
Live inquiries: LukeJWyatt@gmail.com

A Piece of the Storm

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