What a beautiful atmosphere!  Terrific track

NWW//WRK

slow Synth-pop dreamy melancholic retrofuturistic 

Freedom is a garden

Cosima risen from the ashes

Iuvenis

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Grand Duchy Of Tuscany

Lights From Above

E.M.M.A.'s sophomore Astral Plane Recordings release arrives on July 14 in the form of 'LA Mermaid', made up of five epics boiled down to their finest essence.

Apple Music: tinyurl.com/y943dabd
Bandcamp: tinyurl.com/yb2rj34t
Bleep: tinyurl.com/ya2lvh2c
Boomkat: tinyurl.com/ycayohjc
iTunes: tinyurl.com/y7jptn8g
Juno: tinyurl.com/y7dy24x4
Spotify: tinyurl.com/y8p9fody

Follow:
@oiiemma

LA Mermaid

E.M.M.A. - LA Mermaid

LIES-114
MAXXXBASS-Untitled 8
from the upcoming "Gone Fishing" lp
to be released June 15th 2018

Gone Fishing

Buy Direct

MAXXXBASS-untitled 8 (LIES-114)

LYZZA - IMPOSTER 

Over the past several years, London based artist LYZZA has emerged as a singular voice at the intersection of on-the-cusp club music and incisive songwriting. IMPOSTER is her second release, offering an expansive follow-up to 2017’s Powerplay and a furthering of the vision heard in radio/DJ sets for the likes of NTS Radio and Boiler Room. IMPOSTER is centered on an externalization of LYZZA’s internal struggle, a determined fight to claim a place at the table with the knowledge that the system is not intended for her. The sound is dark and anxiety-ridden, but powerful, riven with forceful rhythms and a variety of seductive vocal techniques.

LYZZA’s performance begins with two breathy, mood setting tracks in “Get What U Got” and “2BORNT2B”, immediately establishing the lilting rhythms and melodic bass lines that run through the EP’s entirety. The energy dial is soon ramped up as “Sleeve” and “Girls R Us” feature LYZZA in full diva mode, sing-rapping over frenzied productions, while “Fraud”, her first official production-only track, finishes off the release with a disarmingly gorgeous hardcore flourish.

The contradictions in “Fraud” exemplify LYZZA’s approach throughout IMPOSTER, balancing brusque dancefloor propulsion against elaborate, emotionally cutting vocal performances. Those contradictions are also thematically born out as LYZZA’s interior narrative is born out in wide screen clarity. The spotlight is on LYZZA this time, but the defiant spirit embodied throughout IMPOSTER is universal.

IMPOSTER was mastered in full by Night Slugs’ Bok Bok (@bokbok)

IMPOSTER

Sleeve

Buy it here:

itunes 
US/North America: http://itunes.apple.com/us/album/dp-aaron-single/id554211209?uo=4 
MMW1 UK/Rest of world: http://itunes.apple.com/gb/album/aaron-dp-ep/id554664574?uo=4

Amazon 
DFA US/North America 
http://www.amazon.com/DP-Aaron/dp/B0092ES1W4/ref=sr_1_5?ie=UTF8&qid=1346949753&sr=8-5&keywords=dan+bodan 
MMW1 UK/Rest of world 
: http://www.amazon.co.uk/Aaron-Dp-Explicit/dp/B0090B8ASE/ref=sr_1_1?ie=UTF8&qid=1346949623&sr=8-1

DanBodan - Aaron แอรอน 아론

Friday 31 January 2020
 CTM 2020 – Liminal 
Kunstquartier Bethanien, Berlin

From the historical figure of the castrato to the contemporary phenomenon of the digitally modulated voice, liminal genders have long intertwined with the production and performance of music. Castrati singers, boys castrated before puberty to preserve a high and uncanny singing voice, were outlawed when music recording technology began to proliferate, and around the same time that homosexuality, as a modern sexual and gender category, began to emerge.

The gramophone, and later the hi-fi stereo, tape player, and iPod, isolated the sung voice from its resonating body, producing an uncanniness similar to that of castrati—ambiguously gendered people with larger frames but unthickened vocal cords whose modified sexual characteristics created a singular and often perplexing sound. In the twentieth century, the adoption of synthesizer technology to music by trans composer Wendy Carlos further threw the voice into liminal space, creating sounds that did not stem from any visible resonating body. Trans uses of music technology proliferate in this century, where musicians like Sophie, Fever Ray, Terre Thaemlitz, and YATTA confound the ear with complex and contradictory performances of vocal gender.

CTM 2020: Voices Without Bodies by Sasha Geffen

I had heard amazing things about Lyra's music and performance from my trusted friend BLEID who played on the same festival as her a couple years back - i memorized the name and was so happy to find that we would both attend the SHAPE platform gathering in Prague, where many artists from everywhere, including Peach, Oceanic, avsluta, patten and many more got together to attend workshops and lectures. Meeting Lyra was great, i was instantly struck by her humanity, a way of communicating that was so calm and kind and also her pondered reflections on all these different subjects. aside from a participant as a selected SHAPE artist, she was also a lecturer and the three-day event, and experiencing her talk about childhood in rural america, her myriad music influences and her inventive approach to manipulating sounds and particularly her voice left me in awe. her new album fountain really translates all these beautiful impressions i got, with her voice and carved sonics in juxtapositions all working together to create pieces where the percussion might be a vocal, for example, and so on - where a sense of fluidity and lack of fixed rules is key (my fav feeling if you know me).
i think of out time together in Prague often and how her intent and studious, graceful spirit in music inspired me, so i wanted to somehow make a link with what we do at naive, and asked her if she was willing to explore her practice in the mix format for us, which she did accept to my great happiness - and the result is so completting and exciting! collages of speech and music, new fiona (yess), ariana's into you remixed, and plenty of exploratory synth and drum work. i can feel the care that was put into this, and i feel so honoured to have lyra on the naivetape series. dive into this ever-changing tunnel of colourful explosion and thank her later <3
ps - lyra is a twin and the incredible baby pic is with her twin. about it she said something so cute and meaningful i couldn't not quote:  i really like the first one with one of us with the hand in the others mouth because it expresses a strange and cute intimacy of two souls who grew in the same womb together

naivetape #51 - Lyra Pramuk

Talk Talk - Taphead
 Ram Dass - Beyond Space and Time
 Jonny Greenwood - Never Cursed
Oumou Sangaré - Mogoya
 Cocteau Twins - Persephone 
Fiona Apple - For Her 
[Maya Angelou - On Courage & Love] 
Benjamin Britten, The Choir of King’s College Cambridge - A boy was born, 
Op.3 - Variation 3: Jesu As Thou Art Our Saviour
Bill Evans - Peace Piece
 Eliza Legzdina, Lucinda Chua - This Room 
Unknown - Lewis, Martin, Lewis’ mum, Marianna, Iwan, Tic, Helena and Lucinda go ice skating in c major
Bella Bartok, NHK Symphony Orchestra - Divertimento for String Orchestra, BB118 / Sz113: II. Molto adagio
Charlie Fox - Ghost Costume 
Michael Galasso - Angkor Wat theme
 Suzannah Pettigrew - Long Distance Lovers
 Jimi Hendrix - Castles Made of Sand
Micachu & The Shapes - Relaxing 
[Cello Interlude]
Kara-Lis Coverdale - Touch me & die
 [Obongjayar Interlude] 
Lucinda Chua - Unknown
Cinema - Sem Teto

Body Ache

No era sólida

Kink Gong is back with his unique take and re-interpretation of the music he’s been recording and documenting for years in the South East Asian highlands.

More info at www.discrepant.net

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