Belvedere Ostrense (Ancona,IT)
https://www.facebook.com/Aletaprod/?r ef=pages_you_manage
https://www.beatport.com/artist/aleta/19 8791
https://soundcloud.com/aletamusica
https://www.instagram.com/aletamusic a_/
https://www.youtube.com/channel/UCw QadJZeO1S6Vhx28g0E5kw
https://open.spotify.com/artist/7hPexBh 2kjw0vJevisCkaD?si=Ay1iHg8LTj-L3zta Jj6R1w&dl_branch=1

Me & My Personalities

TH391 Aleta_Me & My Personalities

The single - "Quetzal" was originally written, produced and mastered by Michael Ollis under the original Strigidæ project in 2015. At a private home studio.

During said time lots of experimental and "avant" ideas were being put into fruition mostly out of study, research and educational purposes. 

"Quetzal" demonstrates a wide array of technical work, including from Moog Voyager synth patches to Arturia wave-tables and arps. What made working with this song so different was the amount time devoted to perfecting the final mix from 2015 - 2019 after initial project was recorded. Utilization of secondary percussion arose after the idea for the name "Quetzal", as the song is originally inspired by a 5meo-DMT experience, where the idea originally conceptualized. Leaving to demonstrate a sense of shamanic and deeper influence with intension of remaining true to culture behind such a beautiful creature.

Various ancient folklore is centered around this seemingly mythical bird. One Guatemalan legend says that when Tecún Umán, a prince and warrior of the Quiché Maya, fought against the Spanish conquistador Pedro de Alvarado, there was a quetzal flying overhead. Tecún Umán was able to disarm Alvarado on his first strike, but was killed in the second strike by a spear penetrating his chest. It is then that a quetzal allegedly flew down to Tecún Umán and dipped his chest in the brave prince's blood, which is how it acquired the red feathers on its breast. Another Mayan tale states that the quetzal was once known for its beautiful song, but after the Spanish conquered the land, it vowed only sing again when the land is finally free. 
Today, the quetzal is Guatemala's national bird and the nation's currency is named after it. Although considered near threatened, many Central American countries like Costa Rica are fighting to preserve this legendary bird by protecting it in its national parks.  For those interested in birding, the quetzals can be found in tropical montane cloud forests. Centuries after being considered sacred by ancient peoples, 
The Resplendent Quetzal is still glorified for all its majesty.

Artwork by Sylvia Ritter via Artstation.
http://sylviaritter.deviantart.com/

Quetzal-[Remastered]

stream & dl here: https://mau5trap.ffm.to/surdose

follow #mau5trap new releases here: https://spoti.fi/2p2FViV

tune into deadmau5 pres. mau5trap radio every weekend: https://deadmau5.com/radio

visit the mau5hop for new merch: https://mau5hop.com

▶︎ Tony Romera online:
https://www.facebook.com/TonyRomera
https://www.twitter.com/TonyRomera
https://www.instagram.com/tonyromera
https://www.soundcloud.com/tonyromera

▶︎ Joey Valence online:
https://www.facebook.com/TheJoeyValence
https://www.twitter.com/joeyvalence
https://www.instagram.com/joeyvalence
https://soundcloud.com/joeyvalence

▶︎ mau5trap online:
https://mau5trap.com
https://mau5hop.com
https://facebook.com/mau5trap
https://twitter.com/mau5trap
https://instagram.com/mau5trap

about mau5trap:
Over a decade since its formation, mau5trap -- the independent record label founded by groundbreaking electronic music producer deadmau5 -- has become a bastion for trailblazing and genre-defying artists. Casting a palpable influence over the genre, Mixmag readers voted mau5trap among the “Top 50 Labels of the Decade”, placing it in the Top 10; since then, the imprint has been supported by dance music magnates Billboard, DJ Mag, Forbes, Insomniac, and The EDM Network. More recently, mau5trap has maneuvered toward live events boasting curated stage takeovers at the world’s biggest electronic dance music events like Ultra Music Festival, Creamfields, EDC, and beyond.

The multi-genre platform has extensively served as an authoritative platform for dance music heavyweights such as Skrillex, Feed Me, Zedd, Noisia, Dillon Francis, Chris Lake, and Madeon; a combination of dark, forceful techno and complex, electro sounds, the label acts as a hotbed for rising talent such as REZZ, Getter, i_o, ATTLAS, No Mana, Matt Lange, and others alike. Welcome to the horde.

#Surdose

stream & dl

Tony Romera - Surdose (ft. Joey Valence)

stream & dl here: https://mau5trap.ffm.to/throwdownletgo

follow #mau5trap new releases here: https://spoti.fi/2p2FViV

tune into deadmau5 pres. mau5trap radio every weekend: https://deadmau5.com/radio

visit the mau5hop for new merch: https://mau5hop.com

▶︎ #Spor online:
https://www.twitter.com/spor
https://www.instagram.com/feedme
https://www.soundcloud.com/spor

▶︎ mau5trap online:
https://mau5trap.com
https://mau5hop.com
https://facebook.com/mau5trap
https://twitter.com/mau5trap
https://instagram.com/mau5trap

about mau5trap:
Over a decade since its formation, mau5trap -- the independent record label founded by groundbreaking electronic music producer deadmau5 -- has become a bastion for trailblazing and genre-defying artists. Casting a palpable influence over the genre, Mixmag readers voted mau5trap among the “Top 50 Labels of the Decade”, placing it in the Top 10; since then, the imprint has been supported by dance music magnates Billboard, DJ Mag, Forbes, Insomniac, and The EDM Network. More recently, mau5trap has maneuvered toward live events boasting curated stage takeovers at the world’s biggest electronic dance music events like Ultra Music Festival, Creamfields, EDC, and beyond.

The multi-genre platform has extensively served as an authoritative platform for dance music heavyweights such as Skrillex, Feed Me, Zedd, Noisia, Dillon Francis, Chris Lake, and Madeon; a combination of dark, forceful techno and complex, electro sounds, the label acts as a hotbed for rising talent such as REZZ, Getter, i_o, ATTLAS, No Mana, Matt Lange, and others alike. Welcome to the horde.

#ThrowDownLetGo

Spor - Throw Down Let Go

stream & dl here: https://mau5trap.ffm.to/starlight

follow #mau5trap new releases here: https://spoti.fi/2p2FViV

tune into deadmau5 pres. mau5trap radio every weekend: https://deadmau5.com/radio

visit the mau5hop for new merch: https://mau5hop.com

▶︎ Tsu Nami online:
https://www.facebook.com/tsunamimusicx
https://www.twitter.com/TSUNAMIMUSICx
https://www.instagram.com/tsunamimusicx
https://www.soundcloud.com/tsu_nami

▶︎ Jedwill online:
https://www.twitter.com/jedwill1999
https://www.instagram.com/jedwill1999
https://www.soundcloud.com/jedwill1999

▶︎ mau5trap online:
https://mau5trap.com
https://mau5hop.com
https://facebook.com/mau5trap
https://twitter.com/mau5trap
https://instagram.com/mau5trap

about mau5trap:
Over a decade since its formation, mau5trap -- the independent record label founded by groundbreaking electronic music producer deadmau5 -- has become a bastion for trailblazing and genre-defying artists. Casting a palpable influence over the genre, Mixmag readers voted mau5trap among the “Top 50 Labels of the Decade”, placing it in the Top 10; since then, the imprint has been supported by dance music magnates Billboard, DJ Mag, Forbes, Insomniac, and The EDM Network. More recently, mau5trap has maneuvered toward live events boasting curated stage takeovers at the world’s biggest electronic dance music events like Ultra Music Festival, Creamfields, EDC, and beyond.

The multi-genre platform has extensively served as an authoritative platform for dance music heavyweights such as Skrillex, Feed Me, Zedd, Noisia, Dillon Francis, Chris Lake, and Madeon; a combination of dark, forceful techno and complex, electro sounds, the label acts as a hotbed for rising talent such as REZZ, Getter, i_o, ATTLAS, No Mana, Matt Lange, and others alike. Welcome to the horde.

#Starlight

Tsu Nami - Starlight (ft. Jedwill)



GRAVE118 - Whirr 'Sway' out 9/23/14 on CD/LP/Tape/Digital (pre-order here: www.graveface.com/graveface-catalog.html)

When Sway begins, you might at first press pause, reaching for your headphone wire or peeking behind your speaker cables to make sure nothing has come undone. The blister of distorted guitar that opens the album comes only from the right channel, howling and hanging there in irascible isolation until it seems that something must be wrong.
But be patient: After a dozen seconds, the rest of Whirr—a five-piece of blanketing rock focus and comforting pop finesse—pours in from the left channel. They meet the guitar in the middle, together racing headlong into a short section that’s heavy as metal but pliable enough to be the springboard for the galloping shoegaze beauty that soon arrives.
For the next 36 minutes, you need not worry again about lost connections, split channels or anything else, really. More than any Whirr release to date, Sway creates a definitive sense of immersion, sculpting an environment that breathes you in instantly and breathes you out only when the record snaps into silence.
That bifurcated start is an appropriate image for Whirr in 2014. Last year, the band headlined a tour with the Philadelphia group and fellow admirers of heaviness and harmony, Nothing. Not only did the crews become fast friends, but their respective founders—Whirr’s Nick Bassett and Nothing’s Dominic Palermo—decided to start a group of their own, Death of Lovers. When the shared tour was finished, Bassett headed to Philadelphia for a month of writing and recording. He’s never really left. He calls Philadelphia home now, so Whirr has become a bicoastal band.
In Philadelphia, Bassett worked on Death of Lovers’ debut for Deathwish Inc., toured as the bassist for Nothing and steadily composed new material for the next Whirr album, their first full-length for Graveface. Back in Oakland, the rest of Whirr had committed to the project full-time, too, so the West Coast contingent wrote and rehearsed new material without Bassett. Joey Bautista took the lead on two songs, Loren Rivera on three.
Indeed, against most odds, Bassett’s move made for a more democratic Whirr. In their salad days, Bassett had written most of the material and built the bulk of the arrangements, too, using the support only to enrich and enliven them. After a slew of splits and singles and EPs, Sway is the second Whirr LP, but it is only the first to be rendered by a fully functional rock band, having shaped the songs slowly and over some distance.
Before the quintet entered Oakland’s Atomic Garden to work with longtime producer and collaborator Jack Shirley, they reworked the contributions of all three writers, massaging the material into a cohesive dynamo. Rivera, for instance, rewrote the words for Bassett’s material, folding his songs into the album’s presiding sense of dusky melancholy.
“It’s not conceptual, entirely, but it’s intended to ebb and flow in a certain way—one song being aggressive, then dropping out and being pretty but devastating,” Bassett says. “We tried to create an atmosphere, where you listen and get vibed into one tone. ”
That rhythm presides over Sway, tying its distinct parts into a seamless unit. The restless “Heavy” churns somewhere between Godflesh and Gish, its lumbering beat and foreboding guitar buoyed by a melody that feels like a secret hymn for which you’ve long searched. Gorgeous and sprawling, “Sway” floats through luxuriating guitars and pillowed vocals, offering an impressionistic but intoxicating inversion of Whirr’s typical propulsion. Even here, during the record’s prettiest moment, Whirr maintains a righteous minimalism, emblematic of members who met one another as skateboarding high-school kids.
“The aesthetic of the band is more aimed at mature punk rather than alternative rock,” Bassett confirms. “There are these more aggressive punk elements—noisy feedback, a snare roll that just goes into super-punchy, driving songs.”
“Clear” brilliantly paints its lyrical quest for lucid communication—“I want words/to understand you,” runs one plaintive, surging bit—in music that takes up the same challenge. Whirr pushes past a pastel instrumental haze into a hangdog march, with near-whispered vocals bruised by Devin Nunes’ drums and Eddie Saldago’s orotund bass line. But as the end approaches, the band builds together, the riffs and the rhythm colliding into one triumphant, redemptive crest.
And that’s the victory of Sway, too, an album written by five people on two coasts but executed with the force and splendor of, at last, a fully unified Whirr.
Graveface will release Sway on CD, LP and digitally September 23.


Whirr - Lines

Whirr & Nothing

Chloroform

The Prayer

Gran Turismo 2 Blue line instrumental version

• Official SoundCloud.











I have permanently lost access to my original account. but please don't hesitate to dig around. thanks! 

“Trying to define yourself is like trying to bite your own teeth.”  -Alan Watts

#ambient #dark #experimental #lofi  #IDM

•Debut full length "The Source" 
release TBA 2022.
________________________________

•Other SoundCloud-
https://soundcloud.app.goo.gl/qaDFL

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All images•photos•art by STRIGIDÆ•®©•2011/2022
unless otherwise specified.
Credits•sources•collaboration
will be specific.


Quetzal-[Remastered]

Strigidæ☾

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