ice is dripping. candles are out. the foreplay over.

Our selection of lustworks are anticipating your next move…

INDEXOXO<3

A third volume of nocturnes devoted to whetting all thirsts -
a salve to soothe all burns of desire.
For where there once was love,
ever shall its void fill with longing.

@user-951049725-782254964 @ikezwanikken @kingsofty @djbirdbath @vasesound @mikemidnight @raw_silk @kind_tree @milliamusic @rreinartz @connaharaway @cybermission @pppainterrr @murphyet

INDEXOXO<3

Downstairs People - Sabotage

Extrait Live 2021 @ Hectolitre

Plays John Coltrane and Langston Hughes

Blue Train

Raphael Rogiński - Blue Train

Atlas of Green

Born Through

Hologram

floating on a log

Gravado com o celular, melodia com som de trompete simulado com a boca e a voz. barulhos com instrumento de percussao feito com materiais reciclados

DIA 20 - after marco's class

Roberto Musci - Empty Boulevard (02:04)

Minais B is the solo moniker of Villads Klint, who also produces deconstructed pop cuts as a part of the trio Khalil along with Nikolaj Vonsild (When Saints Go Machine, Cancer) and Simon Forman (Age Coin, Yen Towers), whose debut album was released August 25th on Posh Isolation. In his solo project, the young producer explores movement and contrasts in sound, and “As The River At Its Source” is no exception hereof. It stays in motion from the beginning to the end, constantly moving from one frame of mind to another, ultimately maintaining an atmospheric quality throughout the entire duration.

In “As The River At Its Source”, Minais B is uniting alluring and challenging sounds by merging sonic experiments with a profound, soothing melancholy, questioning when a sound is beautiful and when a stranger becomes an acquaintance. At times the piece lets its listener drown in dreamlike arpeggios and synth pads, while suddenly breaking down in order to proceed with a passage consisting entirely of restless bass-heavy beatings.

As his first vinyl release, Minais B delivers a very mature offering on “As The River At Its Source”, a highly emotional endeavor in contemporary ambient music, touching on the complex nature of human connection.

Artist: Minais B
Title: ”As The River At Its Source”

All music written and produced by Villads
Text by Adam & Villads
Speak by Nynne
Mastered by Aske
Lacquer cut & Vinyl Master by Hari
Pressed at R.A.N.D Muzik
Artwork by Laurits

Out on 12" Vinyl and digital download October 21st, 2017
Distributed worldwide by EM92 Distribution

Facebook: https://www.facebook.com/petrola80/
Bandcamp: https://petrola80.bandcamp.com/releases

Press:

http://adhoc.fm/post/minais-b/
https://secretthirteen.org/minais-b-as-the-river-at-its-source/
https://www.theransomnote.com/music/mixes/minais-b-the-monday-is-okay-mix/
http://www.seeksicksound.com/minais-b-river-source/
https://bostonhassle.com/minais-b-as-the-river-at-its-source/
https://www.thenewnoise.it/minais-b-as-the-river-at-its-source/
http://www.straylandings.co.uk/news/minais-b-of-posh-isolation-signed-trio-khalil-to-release-solo-record
https://nichemusic.info/minais-b-as-the-river-at-its-source/

As The River At Its Source

Buy 12" / DL

PET-002: Minais B - As The River At Its Source

Premiere performance of "clouds" by the Birch Creek Festival Orchestra (Door County, Wisconsin), Brian Groner, conductor in 1996.

clouds (1996)

Mats Erlandsson – Minnesmärke - LP
Release date - Nov 6th 2020
Catalogue nr. - HG2008
Format - Vinyl / digital

hallowground.bandcamp.com

Tracklist:
1. Vilja 	(19:08)
2. Slakt	(22.03)

Credits:
Hilary Jeffery - Trombone, Tuba
Gaianeh Pilossian - Violin
Yair Elazar Glotman - Double Bass
Mats Erlandsson - Everything Else
Mastering by Andreas Lupo Lubich
Artwork by Marijn Degenaar

///
Mats Erlandsson makes his debut on the Swiss label Hallow Ground with »Minnesmärke,« at once a nuanced sonic exploration of the industrial and political history of his native Sweden and a deeply personal album. One of the key figures of the Stockholm drone scene, the prolific composer worked with The Kilimanjaro Darkjazz Ensemble’s Hillary Jeffery, violinist and long-time friend Gaianeh Pilossian as well as sound artist and frequent collaborator Yair Elazar Glotman for a two-part composition built around tuned sustained tones performed by electronic and acoustic instruments that were combined with field recordings in order to evoke a psychedelic state of reflection, a dream-like elegy for the acoustic properties of the former iron ore mine Ställbergs Gruva where the music has been conceived and recorded. Following up on releases on labels such as Hallow Ground label mates Kali Malone and Maria W Horn’s XKatedral imprint, »Minnesmärke« is Erlandsson's most accomplished work yet. 
Originally a commissioned work by the Non Existent Center for a month-long artist residency in Ställbergs Gruva last Summer, »Minnesmärke« conceptually picks up on the socio-political and economic history of the Bergslagen region where the mine is situated. After mining operations had been on-going for decades prior, in the Industrial Age iron became one of the country’s largest exports, making the mining industry an integral part of the country’s progression towards a socialdemocratic welfare state in the years after World War II. With the rise of neoliberalism and the simultaneous erosion of the welfare state however, the mines around the region started closing, which resulted in the surrounding community losing its relative prosperity. Erlandsson’s interest in this story though does not exclusively stem from the historical significance of the mine, that has been re-opened in 2012 as a centre for cultural activities and critical thought. In fact, his grandfather was born and raised in the vicinity of it and thus his life - and, by extension, his grandson’s - was inextricably linked to its fate and the ebbs and flows of the industrial development in the area. 
It’s no surprise then that the two parts of »Minnesmärke,« which translates to »memorial« or »monument,« is marked by a sense of dislocation and dissociation. »Working in Ställberg was a somewhat surreal experience from the point of view of a musician some one hundred years later,« says the artist. »Being in that environment makes you view time from the side - since the place remains the same it accentuates the deep chasm that separates my perspective from those of my relatives, while at the same time providing a form of intimacy with them.« This naturally shaped the recording process, which saw Erlandsson create an interaction between the acoustic and the electronic, the human and the machinic as well as the natural environment and the technology that has shaped it as much as it has been shaped by it. A combination of synthetic and recorded sound sources was processed by reamping it in various rooms of the vast mining complex. The resulting hybrid field recordings were transferred to tape and have then been treated extensively. An arrangement for Pilossian’s violin, Jeffery’s tuba and trombone playing as well as Glotman’s parts on double bass were recorded separately and similarly manipulated to create an expanded chamber ensemble with a wider range and an ability to transcend the usual temporal bounds of the instruments.

MATS ERLANDSSON - Vilja (edit)(HG2008)

PLEASE DON'T SEND DEMOS, thanks...

Webshop: https://www.musicfrommemory.com

Amsterdam based record label releasing visionary electronic music from both past and present.

Sublabel: @secondcircle

Roberto Musci - Empty Boulevard (02:04)

Music From Memory

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Roberto Musci - Empty Boulevard (02:04)

Music From Memory

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