La más bonita música that I´d never heard in my live... a lot of thanks from México...

love the way you get so much emotions out of your music 

From the album, 'South Wind,Clear Sky,' out now on Second Language Music.  www.secondlanguagemusic.com

Perhaps still most widely recognised for Dreaming With Alice, his 1972 psych-folk debut for RCA Italy as a 19-year-old art student-troubadour, Mark Fry has been turning his creative gaze on the world, and alchemising its elements into shimmering, quietly visionary works of art, ever since. Certainly not an artist who dances to the music of time in any conventional sense, Mark, a respected, and collected, painter, most often to be found holed up in his Normandy farmhouse studio, allowed more than three decades to glide by before recording Alice’s follow up, 2008’s Shooting The Moon. His subsequent musical activity has been frenetic by comparison.

Mark’s beguiling, Arcadian-flavoured 2011 Second Language album, I Lived In Trees, recorded in collaboration with The A. Lords – musicians from a more recent generation of psychedelic-folk experimenters – proved a major critical hit, demonstrating that Mark Fry’s musical stock lay not only in the Paisley-hued haze of his Aquarian Age youth, but also in the full glare of the postmodern, internet-facilitated present. A series of concerts in Japan and Scandinavia, and a widely reported ‘supergroup’ London showcase, featuring members of Mercury Rev, Super Furry Animals, Tunng and Lemon Jelly, further evinced the subtle but inexorable diffusion of the Mark Fry legend, something abetted by BBC Radio 4’s Today programme airing an interview with Mark in the wake of Trees’ release.

All of which brings us to Mark Fry’s latest, most exquisitely realised musical offering to date, South Wind, Clear Sky. Sung with that now familiar alloy of cool restraint and wondering innocence, and passingly reminiscent of the kind of English pastoralism associated with the likes of Kevin Ayers or Bill Fay, the album’s leanly arranged yet immersive songs are propelled by Mark’s glinting, plangent guitars and deliciously embroidered by John Parker’s double bass, Angèle David-Guillou’s piano and backing vocals and Katie Lang’s French horn, all bound together by producer Guy Fixsen (My Bloody Valentine, Stereolab) into a delightfully iridescent whole. For all its finely honed arrangements, and the translucence of its recording, South Wind, Clear Sky is still very much the work of the man who made Dreaming With Alice; the mature Mark Fry’s feeling for wonderment and magic, for the dreamlike and the innocently surreal, is just as pervasive, and persuasive here, only more focused, and etched against a more luminous, even heavenly canvas.

Where the lyrics on his last album found Mark reaching up through the summer branches toward an azure sky, here that celestial dimension provides the focus for eight shimmering chamber-folk essays whose wistful narratives of flight and fancy and empyrean romance purr and soar with a stately grace, like the ‘Aeroplanes’ of the album’s richly melodic opening track.


Mark Fry - Aeroplanes

"Eiditic Reduction" taken from the Original Soundtrack Recording
of Partir To Live, out now on Sacred Bones. 

LP/CD: http://www.sacredbonesrecords.com/products/sbr132-partir-to-live
itunes: https://itunes.apple.com/us/album/partir-to-live-original-motion/id962476106

Website: http://www.jozefvanwissem.com/
Twitter: https://twitter.com/vanwissem
Facebook: https://www.facebook.com/jozef-van-wissem-103993546315254/?ref=ts


Jozef van Wissem - "Eiditic Reduction"

Pre-order the vinyl: bit.ly/1Bzc1Ab

LA-based electronic duo OOFJ are elated to announce the release of their sophomore album Acute Feast (April 21 on Ring The Alarm Records).

The brainchild of real-life couple Jenno Bjørnkjær and Katherine Mills-Rymer, the LA-based electronic duo OOFJ met in New York City while Bjørnkjær was working on music for Lars Von Trier’s Melancholia. This chance encounter developed into both a romantic and sonic chemistry that would eventually lead to the couple collaborating on music that formed the foundations of OOFJ.

Equal parts glamorous and nightmarish, with a glittery seductive tone to it, Acute Feast hints at the otherworldly, almost hyper-real world that OOFJ don’t just reside in, but have orchestrated.

Acute Feast

Sailor

River's Theme

A 17-minute journey through the 'void beats/invocation trex' album, mixed by synthesist/selector/horror Tom Furse:

"I jumped at the chance to work with Cavern Of Anti-Matter. Tim Gane's work has been a primary influence on my music for years and COAM's new album did not disappoint - an absolute pleasure to listen to from start to finish, total aural delight. Modular patterns and first class electronics intersperse with insistent rhythms that spoke to me instantly, and I was able to condense it down to 17 minutes of non-stop energy which I hope gives you an good idea of what a brilliant album it is."

void beats/invocation trex by Cavern Of Anti-Matter will be released on 19 February 2016 via Duophonic as 3LP, CD & DL.

Features contributions from Bradford Cox (Deerhunter), Sonic Boom (Spacemen 3) & Jan St. Werner (Mouse On Mars).

www.cavernofantimatter.com
@tomfurse


Tom Furse (The Horrors) void beats minimix

When Lali Puna released "Our Inventions" back in 2010, it was a long overdue return for the band; in fact, more than half a decade elapsed between the current LP and its predecessor. However, the Munich-based foursome now seems to want to make up for that, dropping this new EP in early 2012, at a point when "Our Inventions" is still lingering in the air. It's an afterburner of sorts, a remix addendum, an early continuation fittingly entitled "Silver Light".
Before singer Valerie Trebeljahr and her band mates officially hand over the original recordings, they set the tone with a beautifully rendered cover song: Lali Puna's take on Mort Garson's "I've Been Over The Rainbow", originally released on the LP "The Wozard Of Iz" (1968), a dark parody of the original "Wizard", sounds both forsaken and strangely welcoming as they venture deeper and deeper into the void that is to be found at the very core of this track. With this choice Lali Puna not only pay homage to the late-great moog master who died in 2008, but also present a song that works as a stunningly ruminative prelude to "Silver Light". 
It's obviously dark now, and the night is upon us: Cornelius' remix of "Hostile To Me" washes over the listener like a beautiful lullaby, it's soundscapes shimmering at sundown or night-fall, moments that do not sound hostile at all; instead, by combining multiple vocal parts Keigo Oyamada ultimately even manages to lift this track to almost ethereal heights – obviously something Lali Puna would never dare themselves. Since "Our Inventions" was heavily concerned with the downsides of progress, and posing questions about our constant need to stimulate growth, it's a logical step to present Trebeljahr's lyrics (such as "destroy this place") in this downshifted way. "Leave your signs on the wall", she sings, but these are signs that are no longer tangible; it's nothing but a last flicker in the darkness surrounding us. 
In Los Angeles it doesn't really get that dark; only in the hills, a place a certain Will Wiesenfeld aka Baths calls home. This Will not only has some amazing sideburns, but he's also the perfect guy to deliver a remix of a track like "Move On": Baths will always turn the original into something with a lot of oomph, even if it's just to get things moving in his hometown, the capital of heavy traffic and congestion. However, Baths and his whooshing, brainfeeding approach as a producer are not an unlikely choice for "Silver Light" – after all he's an artist hailing from the anticon. camp, and by now it's almost a tradition to collaborate with musicians from Munich or Weilheim. 
Finally, hailing from the same camp, there's Odd Nosdam, who just recently collaborated with Saroos: "Safe Tomorrow" done Nosdam style is another massive, broad expanse of sound; it's a new take with more internal pressure, even though ultimately, after more than six and a half minutes, he follows Trebeljahr's request to please "try to make it home by night". And it's true: Nighttime is certainly the best time of day to enjoy the silvery glow of this EP.

buy 

Lali Puna : i ve been over the rainbow (coverversion)

Heathen Child is the first single to be taken from Grinderman's new album Grinderman 2. The single is released on 6th September on limited edition 12" coloured vinyl with poster and for download. The 12" includes this track, a reworking of Heathen Child featuring Robert Fripp and both formats include the new track Star Charmer. The album Grinderman 2 is released on 13th September (Sept 14 in the US on ANTI-) and Grinderman are on tour from September in the UK, October in Europe and November in the US. 
For the latest news and tour dates please visit: http://www.grinderman.com
Grinderman elsewhere online:
http://www.grinderman.com
http://www.myspace.com/grinderman
http://www.facebook.com/grinderman
http://www.youtube.com/user/herecomethewolfman
http://www.twitter.com/grindermansite


Grinderman - Super Heathen Child (with Robert Fripp)

Einstürzende Neubauten - Sonnenbarke

Tindersticks - Harmony Around My Table

Hay un amor que me come el corazón 
No me deja respirar
Volé tan cerca del sol
que su luz me lastimó 

No pensé 
que el calor traería 
Tanto dolor
En mi piel
se imprime el tiempo
con tu voz 

Hay un pájaro que vive en mi corazón 
ya no quiere volar
Se convirtió en una canción
que nace al cantar

El canta
cuando escucha cerca tu voz
Se desarma
en cuerpo y alma 
En mi pecho 
con amor

Es la voz que llena al aire del rumor
del color que mi fuego te cantó 
una flor mi alma te entregó 
del jardín que me regaló tu sentir

ayayai cómo me dolió tu amor.

Pájaro/corazón (demo)

Pale Horses (Ambient)

Official SoundCloud for recording artist and DJ Moby. Follow for new music, remixes, DJ mixes and more

Pale Horses (Ambient)

Moby

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