the first single from my new album "ghosts of the floating world," out soon w/ chilledcow!

additional links
youtube: https://bit.ly/2P6dNrS

parts written by Kalaido, performed by: 
kennebec - guitar
►@kennebec1
pearlpixel - oboe
►https://twitter.com/pearlpixel

mastered by jodhi mather-pike
►www.jodhimatherpike.com/

Kami

In one of the world’s most populated cities, two brothers — Nadeem and Saud — devote their lives to the quixotic effort of protecting the black kite, a majestic bird of prey essential to the ecosystem of New Delhi that has been falling from the sky at alarming rates. Amid environmental toxicity and social unrest, the ‘kite brothers’ spend day and night caring for the creatures in their makeshift avian basement hospital. Director Shaunak Sen (Cities of Sleep) explores the connection between the kites and the Muslim brothers who help them return to the skies, offering a mesmerizing chronicle of inter-species coexistence.

A Broken Ecosystem

Nature Love

Love Song (After JE)

Love Song (After JE) (Edit)

Ingo Wegener - Ut Aeternitatis Aeternitatis

Divisions

In Circles

Download/Buy

US based pianists / keyboardists extraordinaire Jacob Pavek & Philip Daniel have teamed up on the new collaborative project BLOMMA. Their eponymous debut LP is fun and fresh from start to finish, with tunes built on a layering of rhythmic pianos, synths and electronics. We're very stoked to be releasing this luminous piece of music with them to warm this North American winter.

The record drops on February 28th, but the first taste is out now! You can listen to the lead single 'Morrow' in all digital outlets and pre-order the record from our Bandcamp store : https://orcd.co/blomma-morrow

All Music Composed by Philip Daniel and Jacob Pavek
Mixed by Philip Zach
Mastered by Bruce Templeton
Strings by Laurels String Quartet

BLOMMA

Morrow

Spotify ⊜

BLOMMA - Morrow

Meryem

Deeply

Olivier Alary and Johannes Malfatti join forces on their collaborative album ‘u,i ’,  a brilliant exploration of mediated modern communication and a timely release that strikes a powerful resonance with our recently heightened experiences of connection and isolation under pandemic conditions. ‘u, i ’ was recorded over VOIP (voice over internet protocol), using the technology as both creative tool and conceptual frame.

Recorded in Berlin and Montreal and the strange virtual space in between, ‘u,i’ was pieced together between 2017-2019, though its genesis dates back fifteen years, to when Olivier and Johannes began dreaming of a network-based studio that could bridge the 6,000 km geographical distance between them. When early public forms of VOIP such as Skype appeared in the early ‘00s, the pair quickly took to the platform to talk and exchange ideas. Whilst it enabled the building of both a friendship and musical collaboration, they quickly noticed its limitations. Poking fun at its often distorted and unintelligible transmission quality, they began accumulating recordings of its strange sonic by-products. As the pair increasingly used VOIP through the years, the musical potential of these recordings and the concept behind ‘u,I’ began to emerge. Spending more time together online than in the same physical space, they noticed their personal experience was widely shared. With contemporary lives increasingly atomised, social interaction is becoming more and more mediated. Meanwhile, an explosion of personal video feeds has given us access to millions of intimate lives online, a raw and fragile glimpse on human existence. This new paradigm gave Olivier and Johannes the idea that it might be possible to build the narrative of a whole life via disconnected fragments posted online.

A reflection on human existence glimpsed through the prism of VOIP, 'u,i' encapsulates our vaporized social existence via a multitude of disconnected ghostly fragments and offers a bittersweet celebration of our interconnection – simultaneously close and detached. Ultimately, the album itself is a dichotomy – it mourns this gap whilst at the same time recognising it as the sole reason for its existence.

pre-order

Olivier Alary & Johannes Malfatti - Drifting

Sometimes when playing organ preludes and postludes in church, I improvise on rap songs. Sometimes I start with something else (say, for example, motives based on my own interpretations of "redemption" or "jubilation" or "cupcakes") but the journey ends up, somewhere along the way, in the loopy-oriented terrain a rap song or vice versa. 

Most people listening out in the pews more often than not have no idea what sources I quote at the time (depending on who's out there, of course), but the most intriguing part of the exercise is that people of all stripes seem to like the pieces, and have said to be "moved" by them in ways unconventional and far away from a song written for, say, a club. 

There is little material intervallic and harmonic difference between a song played on the organ and a song played through a DAW after all; meaning is ultimately ascribed through timbre and context. This fact testifies to the power of a delicately placed recontextualization and is proof of an "everyday sacred"  contained in even the most deceivingly simplistic 4/4 riffs and 12-bar bass lines.  

A 2013 Gate Production. 
Composed and Performed by Kara-Lis Coverdale in Montreal, Quebec. 

Kara-Lis Coverdale - Puttukas(organ postlude)

Composer & Songwriter - Collecting sounds around the world. http://maxll.ca

Downloads: http://music.maxll.ca
For licensing: http://maxll.ca/contact

In Circles

Max LL

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Karin-Maria Brunner

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