For rest, travel, beach, art and dreams. 7 Hours. ...Легка електронна та інструментальна, просторова і атмосферна, емоційна музика для подорожі,спілкування,відпочинку,спорту,творчості. Може бути для танцю)

Relax  3

Home remix

Sphäre und Antisphäre

in the mirror | untitled project 001 sessions | ambient atmospheric psyche drone horror industrial jungle WIP | shifty 10 15 bpm take 1 8125

Hailu Mergia & Dahlak Band "Wede Harer Guzo"on Awesome Tapes from Africa LP/CD/Digi. https://hailumergia.bandcamp.com/album/wede-harer-guzo

Title track from new reissue Wede Harer Guzo by Hailu Mergia & Dahlak Band. A 1978 recording capturing the sound of one of Addis Ababa's deepest pop/soul outfits fronted by the skilled organist and arranger Mergia. Third reissue with Awesome Tapes From Africa, following his acclaimed performances at festivals and clubs worldwide. 
https://open.spotify.com/album/6am5o1eJClWkXeh0Ex9HuL

Hailu Mergia & Dahlak Band — Wede Harer Guzo

Another track from Köhn's new album 'Kreis Plön', out on KRAAK, on the 9th of June. Pre-order at kraak.bandcamp.com.

Almost 20 years ago Jürgen De Blonde debuted on KRAAK with the nowadays unfindable and almost visionary album köhn 1. It was the starting point for a vital and wondrous exploration that lead him over paths of glitch, idm, shoe gaze, hypnagogic pop, improvised music, straight forward synth music, field recordings and kraut. 

In the middle of this ungraspable adventure through contemporary electronic music, Köhn stands as a genuine artist that stayed true to the curious spirit of the DIY knob twiddling and boggling boy he once was. 

KRAAK is proud to present his 7th album on KRAAK — Kreis Plön, which documents and envisions 20 years of exploring. It’s an album that is about a fusion of the past and the future, of separation and reconfiguration, of mourning and rejoicing, of noise and peace. Kreis Plön is about geolocation. It’s about probable fiction and looking for bits of different puzzles that fit together. An exercise in linear and perpendicular coherence devoid of any objective logic. 

In the middle of the album an artist is envisioning his place in the Now, questioning how or when he got there, as he links memories to imaginary places, and real places to imaginary histories. Kreis Plön stands as such a masterpiece that bluntly envisions the future of electronic music.

Klinker

Welcome to Dijf Sanders' (@dijf-sanders) wonderful journey into future exotica. The Belgian musician pens and produces soundtracks to distant, far-flung places that brood with exotica, psychedelia, jazz and electronica.
 
His new album ‘JAVA’, releasing December 8th through W.E.R.F. is a psychedelic and modern search for the sounds of the homonymous Indonesian island. From hours and hours of field recordings, Dijf distilled ten psychedelic pieces which ride on waves of ecstasy and trance, and bridge the gap between two worlds. Tribal rhythms and warm melodies are fused to a seamless and beautiful musical work in utopia.
 
Armed with a set of field recorders, Dijf traveled to every urban and rural corner of Indonesia in the spring of this year. ‘Kacapi’, ‘Kendang’, ‘Angklung’, ‘Calung’ or ‘Gamelan’ are not the names of indigenous tropical diseases by the way, but those of local instruments that Dijf encountered on his adventurous musical quest.
 
For two weeks the American expert ethnographer Palmer Keen stood by Dijf through his total immersion into the island’s colourful culture and rich, ceremonial traditions. As a contemporary incarnation of ethnomusicologist Alan Lomax, Dijf collected an impressive repertory of recordings, commissioned by the Europalia Arts Festival and KAAP Creative Compass.

On his return to Belgium, Dijf headed straight back into the studio with the gathered material and invited some of his musical soulmates to put the icing on the cake. It is no coincidence that the three guests – Nathan Daems, Filip Vandebril and Simon Segers – are all part of Black Flower, a band that famously flirts with Eastern sounds.

The Brugge-born, Gentbrugge-based musician is one of those great Flemish talents. In the past, he earned his stripes with Teddiedrum and The Violent Husbands and has produced bands like Kenji Minogue and Blackie & The Oohoos. He has also released music under his own name including the critically acclaimed album ‘Moonlit Planetarium’.

JAVA 

Preorder Album

Exclusive Premiere: Dijf Sanders "Jaipong" (W.E.R.F. Records)

INFO => self-titledmag.com/2018/05/11/ne247-meyers-negative-artist-mix/

NE247: Meyers - 'Negative Artist' Mix

akalé wubé !!! - https://soundcloud.com/akalewube


"The time will come
when, with elation,
you will greet yourself arriving
at your own door, in your own mirror,
and each will smile at the other’s welcome,
and say, sit here. Eat.
You will love again the stranger who was your self.
Give wine. Give bread. Give back your heart
to itself, to the stranger who has loved you
all your life, whom you ignored
for another, who knows you by heart.
Take down the love letters from the bookshelf,
the photographs, the desperate notes,
peel your own image from the mirror.
Sit. Feast on your life."

Download

akalé wubé - "marye" & linton kwesi johnson reads derek walcotts „love after love“(chöko aba edit)

From the Neptunalia LP compilation (LAL-92 / IKU-054). Edition of 300. Release day hopefully July 23rd.

NEPTUNALIA, a festival of Neptune, celebrated at Rome, of which
very little is known. The day on which it was held, was probably the 23rd
of July. The festival was celebrated with games. Respecting the ceremonies
of this festival nothing is known, except that the people used to build
huts of branches and foliage, in which they probably feasted, drank, and
amused themselves.
From a "Dictionary of Greek and Roman Antiquities" by John Murray, London,
1875.

Side A:
David Edren - Whale Bubbler
H. Takahashi - Deep
Nuslux - Hippocampi
Olli Aarni - Eliksiiri A & B
Ilpo Numminen - Speleothem

Side B:
H. Takahashi - Coral
Non Local Society - Latiaxis Mawae
Kuupuu - Jään alle
Marja Ahti - Silent Floor
Miaux - Rip Current at Avalon Beach

Compiled by Roope Eronen
Cover Art by Leon Sadler
Mastered by Tommi Keränen
Laquer cut at Duplates and Mastering

Lal Lal Lal & Ikuisuus, 2018

Miaux - Rip Current at Avalon Beach

Taken from album 'Contrée' released as LP and Download.

Regis Renouard Larivière 'Contrée' (excerpt) (REGRM 021)

From DIAG049 Not Waving / Jim O'Rourke - Side A / Side B

Side A / Side B

DIAG049 Not Waving / Jim O'Rourke  'Side A'

Juma - Selected Works (Excerpt 2)

When the covid-19 pandemic started, in a mixture of distress and concern, it was hard to block out the imagination and its ability to dream up how far things could go. In what feels like a lost tape from a field trip in nuclear fallen-out land, Malvern Brume paints a world seemingly abated. Occasional muffled dictaphone note-taking punctuates caustic interruptions, cryptic utterances, the hollow chime of steel panelling, the movement of 'something' under the gravelly surface. When the journey comes to an end, a crescendo of static noise comes to fore and we hear the splash of water, it becomes apparent that wherever we are is fairly similar to where we are right now.

---

All sounds recorded in London between April and March 2020 during lockdown. Made using various instruments, devices, field recordings and objects including; a synthesiser, modified violin and penny whistle, balloons, tape recorders, bird whistles, bells, a sampler, gardening tools, E3 dawn chorus and other materials found around the house. Both poems were written in response to walks through Victoria park during lockdown.

All music recorded, mixed & mastered by Malvern Brume.

Cover design by Oliver Barrett.

TR001 - Malvern Brume "Gaps in persistent hiss" [sample]

Out on August 7th, 2020. Available at https://shop.tapeterecords.com/new/conrad-schnitzler-frank-bretschneider-construct.html

About the Con-Struct series
Conrad Schnitzler liked to embark on daily excursions through the sonic diversity of his synthesizers. Finding exceptional sounds with great regularity, he preserved them for use in combination with each other in subsequent live performances. He thus amassed a vast sound archive of his discoveries over time. When the m=min- imal label in Berlin reissued two Conrad Schnitzler al- bums at the outset of the 2010 decade, label honcho Jens Strüver was granted access to this audio library.
Strüver came up with the idea of con-structing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album, he decided to develop the concept into a series, with different electronic musicians invited into Schnitzler’s unique world of sound.

Bretschneider on his Con-Structions
I read the name Conrad Schnitzler for the first time in the arti- cle about Tangerine Dream in the Rowohlt Rock Lexicon from 1973 (back then, at 17 in the GDR, an indispensable guide). The first time I heard his music was only in 1980, when his wave track “Auf dem Schwarzen Kanal” was played on the ra- dio, an RCA 12“ Super Sound Single in disco remix. Then the man was gone and stayed under the radar again, in spite of his almost inflationary number of releases. Maybe his mate- rial was too obscure or his approach too radical to be noticed by the general public. It wasn‘t until 1988 that I heard from Schnitzler again, a tape on Jörg Thomasius‘ East Berlin Kröten Kassetten label. And again almost 10 years later his Plate Lunch CDs “Rot” and “00/106”. But it was all too rough and raw for me, both in terms of sound and organization, kind of mechanically and not really cool. Only after I heard Wolfgang Seidel at the NBI around 2002 with one of his tape concerts, I came slowly closer.
Schnitzler‘s early role as co-founder of two influential bands is one reason for the ongoing reception. Another is his con- sequence as an artist. “I‘m not interested in having publicity or a public feedback” he declared in an 1996 interview. It remains an open question whether one has to completely refuse to do so. But I was always fascinated by this almost extinct way of being an artist in its full independence. Just as I feel connected, as a self- taught person and as someone who prefers to look forward instead of looking back: “I don‘t want nostalgia.” After all it was Jens Strüver who inspired me to work with Conrad Schnitzer‘s material.
I had the idea of flowing music in which patterns develop, shift, dissolve and finally reorganize. A modular system seemed the most suitable to connect Schnitzler‘s world with my own by triggering and modulating his sounds via a sampling module and supplementing them with my own. Perhaps I have not always succeeded in merging both worlds congenially, sometimes they orbit, sometimes they collide, but they never stand still. As Conrad Schnitzler says in his „Context“ manifesto: “The sounds don‘t come to stay.”

Buy CD/LP

BB349 Conrad Schnitzler & Frank Bretschneider – Con-Struct (Album Preview)

Boiler Room w/ Awesome Tapes From Africa.

[Broadcasted on 15th June 2013]

Tracklist & video at boilerroom.tv

Awesome Tapes From Africa 80 min Boiler Room mix

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Juma - Selected Works (Excerpt 2)

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