http://eucalyptmusic.com/post/149053063442/new-music-100-lost-youth love this <3

All credits to Porn Sword Tobacco!
Influences:
Anything creative, nice and honest. An afternoon stroll, Recording studios, Gunnar Ekelöf, Karl, Pilkington, Massimo Ranieri (perdere l'amore), Journey(only the young), Nintendo, Leonard "the hills" Mills, Mozart, Stephen Hawking, Murals, Carl Sagan, D+M mastering, Crispin Glover, Nacho Libre, Ed witten, Wierd rants from outlaws and homeless people, instrumentals, 80 blocks from tiffanys, old records, For the sake of the song, Matt monro, Bo Widerberg, George Carlin, Alan Watts, Omar s, the interior of my grandmothers place, Roy Andersson, Galt Mcdermont, Techno, the Swedish woods, My Friends, Vilgot Sjöman, the heartful quality of the foot fist way, Mr.Dawkins, Internet, DJ Gazz, Christopher Hitchens skills, Reh Dogg, Richard Feynman, Cappuccino, Africa, punny..

Porn Sword Tobacco - Cubical Fever

First single taken from Mark E's new album Product Of Industry out April 28, 2014 on Spectral Sound.

Order Product Of Industry in The Ghostly Store: http://www.theghostlystore.com/products/mark-e-product-of-industry

Mark E - Bog Dance

Oliver Coates cover of Bryce Hackford's Another Fantasy. all played on Cello

Oliver Coates - Another Fantasy (Bryce Hackford)

ERIC CHENAUX - "Skullsplitter"

from 'Skullsplitter'
available 17 February 2015 on Constellation:
cstrecords.com/cst112

Skullsplitter

Eric Chenaux • "Skullsplitter"

The debut album of the German singer, who feels musically at home in the Italo-pop of the 80s. Lyrics that get under your skin and music that invites you to dance and more.

We Go Up We Go Down

100% - Lost Youth

Apostille Rework of If You Want Me Now by Happy Meals.

Happy Meals - If You Want Me Now (Apostille Wants You Now Remix)

lyrics:

for tonight
all is desired
in the stillness
life is delight

on the shores 
the sea roares
on the countryside 
life is delight 
in the sunlight 
we fight 

i tell you i promise you we fight 

for tonight 
all is required 
composure
force in motion
on the shore
oh the sea roar
on the countryside 
leave all behind 
in the sunlight 
we fight 

i tell you i promise you we fight 

for tonight 
show me your king 
and i will show you an army 
it's evening desire increasing it's binding
whatever you do lets leave us two 
whatever you decide never hide never hide
a yell through the heat men are wolves the kill and eat 
leave us celebrating or with defeat 
a yell through the night that never gets dark
cause afraid we 
never get this far 
afraid we 
never get this far

produced mixed and mastered by Mathias Sarsgaard
Bass by Patrick Kociszewski
Guitar by Rune Risager
Drums by Mathias Sarsgaard

Persistence

From the album The Grid, available June 21, 2019 on Western Vinyl.

Bandcamp: https://robburger.bandcamp.com/album/the-grid
iTunes: https://itunes.apple.com/us/album/the-grid/1455379979?ls=1&app=itunes
Apple Music: https://itunes.apple.com/us/album/the-grid/1455379979?ls=1
Spotify: 	http://open.spotify.com/album/0IPX0k7LE3SJ6RIetDUUzQ

Rob Burger is an accomplished keyboardist and composer whose storied career comprises film soundtracks and other compositional work, as well as meaningful contributions to the albums of artists such as John Zorn, Laurie Anderson, and Iron & Wine with whom he maintains an ongoing working relationship. Burger rightfully brings his skills and nuanced sensibilities to the fore on The Grid, an LP that recombines neo-classical soundscapes, Harmonia-esque kosmische, and jaunts of 20th-century exotica into a multigenre quilt-work all his own. As a listening experience, the album ranges meanders gracefully between the jovially playful, the contemplative-- and occasionally the menacingly stark-- with masterful ease.

Artist Site http://robburgermusic.com/
Instagram https://www.instagram.com/robburgermusic/
Twitter https://twitter.com/robburgermusic
Facebook https://www.facebook.com/rob.burger.526

The Grid

Rob Burger - "Souls Of Winter (feat Laurie Anderson)"

R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her
solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop
minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated
on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On
manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch. The songs are full of
air and light; infectious, melodic and off-the-cuff.
Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth
belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language –
divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel
guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes,
realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the
undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like
the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps
and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of
perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of
repetitive listening.
Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist
mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist
becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at
the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces
Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless,
conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go
outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be
honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting.
The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and
grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a
loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble
provides aural snakes for the listener’s ear to follow.

R. Elizabeth - SPIRITUAL TO SYMPHONY (from Every And All We Voyage On)

from the album 'sequitur' available 11/12

steve hauschildt 'constant reminders'

Moontown is a Sydney based, independent record label. Since 2012, our focus has been on releasing Australian music from friends and people we admire. The music released is not fixed to a specific genre, but a common ethos - A playful feeling of making do within the limitations of your immediate surroundings ~ Which is often highly restricted!

100% - Lost Youth

Moontown Records

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