Artist: Inventions
Title: Peaceable Child
Album: Inventions
Buy CD/LP Here: http://shop.temporaryresidence.com/trr231
Buy iTunes: https://itunes.apple.com/us/album/inventions/id829805085

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Inventions - Peaceable Child

Shelter (David Sylvian Remix)

DOTS

There are strange forces at work, lurking underneath the shiny, impeccable surface of this place: Looming behind all those perfect little fence posts and neighborly smiles, there's a sense of isolation, of emptiness, a hint of claustrophobia, that fear of being in the wrong place, too far removed from where things are really happening. It's true: darkness has fallen upon suburbia. Welcome to the unadorned world of Innhverfi.

Using a play on the Icelandic words for "suburbs" and "introvert" for its title, Innhverfi is the debut solo album from Sigur Rós' and Jónsi's touring keyboard player/percussionist Óbó – in his passport it says Ólafur Björn Ólafsson –, and although comprised of no more than 7 compositions, it does run the gamut of suburban bliss turned upside down: After the LP's minimalistic opener "Úthverfi", a track that melancholically opens up after a long, immensely dark and brooding intro, that ultimately offers some respite in the form of playful Glockenspiel over layers of slow-moving sonic lava, the equally cinematic "Svartur galdur" leaves much room for Óbó's trademark baritone: Like a bespectacled puppeteer with fluffy hair, he seems to shuffle and rearrange home-recorded bits and lullaby-like DIY pieces in front of our very eyes, which can't help but follow, as we move deeper into the somewhat forlorn suburban landscape that has inspired this record. Imagine dark, wet streets, overcast little alleys, and suddenly a cat or a candle on a windowsill, breathing slowly.

Elsewhere, "Gjallarhornin" – all spoken words, piano, strings, vibraphone, rearranged like a whirlwind in slow-motion – makes way for a hopeful oomph deferred and silent-movie era melodies, while "Stilla", an instrumental, commences like early Efterklang, but there's no gaudiness on the horizon: When the subtle electronics and percussions erupt in the end, it all feels just right – if only for a brief moment. Finally, the subdued birdsong and jazz-inspired piano of "Fyrirbo∂i" underline that Ólafsson has worked on motion picture soundtracks in the past – e.g. The Good Heart, Steypa –, and before it all ends, he even throws in a foot-stompin' alt-pop song of sorts ("Rétt e∂a rangt?"). The last stop of this journey into the haunting underbelly of the suburban mind is "Gullregn": A creaking door that opens to unveil his own garden of forking paths, a place where one can still decide, shake things up, jump the fence and run, leave before it's too late. It's pure possibility, presented in a golden light.

Although Innhverfi is his debut effort as a solo artist, Óbó's musical handwriting has been all over the Icelandic map in recent years: A multi-instrumentalist and a wizard on percussions, he studied piano and later composition in various European cities and has performed and recorded with artists such as Sigur Rós, Jónsi, Emiliana Torrini, Stórsveit Nix Noltes, slowblow, Benni Hemm Hemm, múm, Jóhann Jóhannsson, Úlfur Hansson and Valgeir Sigur∂sson, to name a few.

Though few will be able to understand the lyrics in his native Icelandic, one thing is certain: Innhverfi is the very antidote to the affliction and troubles it sketches out. Turns out we've been in the right place all along.

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Óbó: Rett Eda Rangt?

James Yorkston - Guy Fawkes' Signature (Stuart Braithwaite Remix)
Buy at:
Domino - http://po.st/GuyFawkes
iTunes - http://po.st/GuyFawkesiTunes

Buy "The Cellardyke Recording and Wassailing Society" at:
iTunes - smarturl.it/CRWSiTunes
Dom Mart - smarturl.it/CRWSDM

Guy Fawkes' Signature

James Yorkston - Guy Fawkes' Signature (Stuart Braithwaite Remix)

Peter Broderick - The Reconnection

Prophecy of a Falling Star is the debut ritual-cycle by Choralith — an all-female contralto ensemble whose voices rise like ancient bells from the dust of prophecy.  Inspired by the Minor Prophets of the Old Testament, the album re-imagines their warnings and laments as a living percussion-driven trance — a sacred performance in eleven movements.

Each song becomes a scripture of sound:
• Hosea opens with a betrayed love turned back to mercy.
• Joel burns with digital locusts and comet fire.
• Amos drops the plumb line straight through the bones of empire.
• Obadiah topples the proud and returns gold to clay.
• Jonah sings from the whale’s heart, reborn through surrender.
• Micah calls justice from the soil.
• Habakkuk waits inside the silence until the flame speaks.
• Zephaniah dances in the ashes of deliverance.
• Haggai shakes heaven and earth until only truth remains.
• Zechariah redraws the dawn.
• Malachi closes the circle in the refiner’s fire.

Recorded as one continuous sonic pilgrimage, Prophecy of a Falling Star moves from mourning to motion, from judgment to joy — blending hand drums, shakers, udu, bowed metal, and three-voice contralto harmony into a world-tribal gospel that feels both ancient and futuristic.

When the falling star returns, the rhythm will not end.
Only the silence will learn to sing.

The Measured Dawn

AMBIENT NEW AGE ELECTRONIC SOUNDSCAPE FOR YOUR PLEASURE, INSPIRED BY BLADE RUNNER, I ROBOT AND ALL THE OTHER WONDERFUL SCI-FI ADVENTURES.

NEXUS 29 THE POWER THAT CORRUPTS

"Two Sides of Tranquility" is a soothing journey through serene soundscapes, blending gentle piano melodies, atmospheric textures, and natural ambiance. Each track invites listeners to unwind—evoking the quiet beauty of dawn and the peaceful calm of a starlit night. Perfect for relaxation, meditation, or peaceful reflection, the EP creates a comforting space where tranquility unfolds on both sides of day and night.

Sleep Among Starlit Fields

Veteran Erased Tapes recording artist Peter Broderick set to release new studio album 'Partners' on 19th August 2016.

Order it on LP/CD/DL here: www.erasedtapes.com/store/index/ERATP088

In an email to Robert on February 3rd 2016: 

Dear Robert.

There’s a lot I’d love to tell you about this music.

The inspiration really came when I decided to learn to play John Cage’s In A Landscape on the piano . . . I listened to a recording I had over and over again, five seconds or so at a time, picking out every single note. Then cross referencing what I’d learned with other versions of the piece as well as the original score. The feeling of playing this piece really brought me close to the piano again, and brought new life to my own piano songs.

Beyond Cage’s music, his life and practice have interested me more and more, after having read about his love for foraging wild foods and using chance operations to compose music, in a sense taking his ‘self’ out of the music. I love his so-called ‘mesostics’ and began to write several poems using that method, around this phrase:

I    
N

A

L
A
N
D
S
C
A
P
E

When it came time to record in the studio, I rolled two dice to decide how many poems to read. I rolled 5. Then I assigned a number to each poem and rolled the dice to see which five poems would be read and in which order. That’s the first track Partners, which is also the last word of the last poem I selected through this chance-based process. Track two is my version of In A Landscape. I love playing that piece so much. Carried  is a piece I wrote in Berlin which I’ve played live from time to time. There was a soft vocal loop playing out through an amplifier in the room while I played the piano.

Under The Bridge is my first ever chance-based composition, written by assigning different numbers to different notes and then rolling dice to decide in which order to play those notes. Conspiraling is another piece I’ve been playing for a while. Actually a version of this was recorded in the session that became ‘How They Are’, but it didn’t quite feel right. I like to pretend my voice is like a synthesizer in this song. Then there’s Up Niek Mountain which is a piece I finished composing while in residence at a farm in the Netherlands back in 2010, and is named after one of the family farmers there, Niek, who passed away shorty after I was there. We miss you Niek. The last song is a cover of Brigid’s Sometimes. Brigid to whom I dedicate this recording.

And then there’s Tucker, Mr. Martine, who agreed to record this album without me ever hearing the mixes. We talked about all the sounds and he set up several devices with which to manipulate the sound live, as it was being recorded and mixed down to tape. Francesco also agreed to master the record without me hearing it. I like to imagine maybe one day, five or ten years from now, I’ll walk into a café or roadside diner and hear it for the first time, playing as background music while people eat.

OK surely that’s enough for now! Sorry for blabbing, Robert. Your support has really meant a lot to me. I’ve loved having you in mind while working on this project, knowing it could very well have a home on your sweeeeeet label. Hope all is well.

With love,
Peter

Partners

Sometimes

Buy LP/CD/DL

Peter Broderick - Sometimes

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We're very proud that this song was part of the 'My Words Our Songs' project and as such the lyrics were written by Emily Harrison in the form of a short poem, which we then turned into this song - https://warrenrecordsuk.bandcamp.com/album/my-words-our-songs

A BIG FAT SOMETHING

Muzik-Free-k
Most pics by Bernd Webler or Silena, check them out...

Shelter (David Sylvian Remix)

The Mightychillers