Taken from the album "Gist Is".

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1. Hum
2. Am Gone
3. Springful
4. Donne Tongue
5. Pigeon Skulls
6. Spook
7. Idiot Mantra
8. Be A Girl
9. Bonedigger

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Released 4 August 2014
Available on CD/Vinyl/Digital

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Composed and Arranged by Tim Slater, Harry Burgess, Steven Wells and Tom Howe. Lyrics by Harry Burgess. Produced, Engineered and Mixed by Tom Howe at The Black Byre, Scotland. Mastered by Mandy Parnell. Artwork by Samuel Travis. Additional engineering by Kyle Molleson. Additional production by Harry Burgess. 

Released by Spare Thought.


Gist Is

Spook

Taken from "Persona", available now. 
http://www.poshisolation.net

Puce Mary - Courses

CHROMATICS / BLUE MOON

GLASS CANDY / RISE

This is a sound that was electronically placed onboard the Voyager 1 and 2 spacecraft.

Golden Record: Music of The Spheres

Beethoven: Piano Sonata in A flat Major, Op. 110
Live from Montclair Music Club (May 12, 2015)
Pianist Carolyn Enger
http://carolynenger.com

Beethoven: Piano Sonata in A flat Major, Op. 110 (Live)

All this tape wrapped around my chest keeps my heart from the gutter, but I fear I'm next. He grabbed my crotch, so I bit his arm... dear god I hope I left a scar.

I'm just waiting for it to end.

Crazy lives in my hometown. I didn't want to leave but I'm ready now. He called me a dyke then he raised his fist. Pain's so much easier than fearing it.

I'm just waiting for it to end.

When the time comes. You can not falter. You just have to fucking run. When the time comes, you can not flinch. Know all your exits, and know it's ok just to fucking run.

I'm just waiting for it to end.

flinch

Swim tight

The uncanny is Helen Fry’s birthright: both of her parents have a twin
sibling. For her, the absence of a genetic double is felt as a lack.
When nature reveals itself as a master of eerie duplication, how does
one draw a line between organic and mechanical reproduction? Thus,
Fry’s plea to her mother for a “Twin” becomes a technological
proposal: “so this is the future….if we have the possibility to create
functional 3D-printed human organs, why don’t we just print my twin?”
If nature is in the business of cloning, why wouldn’t your mother have
a 3D printer?

In this world, where it is hard to trace the boundaries of the
artificial, a love song becomes a matter of materials science.
Feelings can be confused with industrial processes. An emotion might
have not only texture but extension; a sentiment might be a membrane,
becoming impossibly thin. The prospect of lost passion shades into the
promise of a technological miracle. It’s hard to tell whether the
request to “turn me on” in “Maybe Not” is a come-on or a friendly
computer instruction, robotically repeated. It’s not made any easier
by the dispassionate phrases spoken between the choruses: “a sensible
desire, a vulnerable reflection.” Is a lover another kind of twin? If
yours was 3D-printed, could you tell?

What does all of this actually sound like? Well, beautiful. 
Technological alienation is an easy theme to find in music today;
Future Light Cone distinguishes itself as music for technological
domestication, music of the cyborg hearth. Fry’s Classical background
comes through in her organ and harpsichord-invoking synth pads, but
the tones don’t aspire to an organic realism; nor are they
self-evidently artificial. They simply are themselves, comfortable and
elegant like a worn-in but finely-crafted set of furniture. On “PCNC
310,” a fantasy about an unstopping milling machine, with Fry (who is
also an industrial designer) repeating a priestly intonation of the
device’s name and MS-DOS entry code, one can imagine the heavy-duty
machine tool positioned in a living room, next to an antique sofa and
a loom. That domestic feel likely has a lot to do with how the EP came
about. Fry and her collaborator Rémi Letournelle, (of the band Slow
Steve) who played on the record as well as producing and mixing it,
retreated to a rural east German home to work on Fry’s demos. There
they incorporated the setting’s prosaic elements into the recordings,
using baskets, cotton swabs, and a neighbor’s cat.

The term ‘future light cone’ refers to the region of space and time
that a beam of light will travel through in its lifetime. It’s a nice
metaphor for an EP which sees the future unfolding in front of it and
takes in all its strangeness with equanimity and poise.

Future Light Cone comes out on Mansions and Millions on April 7th.

Buy Tape on Bandcamp

Helen Fry - Plasticine

In November 2012 Manzilla was held at gunpoint by a man in a child-sized godzilla costume. Manzilla, $42 poorer, went home, re-assessed her life, quit her NYC job, purchased a keyboard, and began recording music. She now lives in New Orleans, soaking up soul and peeing into jars.

flinch

manzilla