Samples

Unthinking "E"

Slowfoam & Neilll - Compression, Resurrection

Quindar: Sound #1

J-2X Test Fire

SLS Test Fire

Atlas V: Launch

Izu Ambient 016

The University of North Carolina Chapel Hill's 2014 High Altitude Student Platform (HASP) mission placed infrasound (below audible frequency sound) microphones 22 miles above the Earth in order to quantify the acoustic wavefield of the stratosphere-the first time this has been done in half a century.  The microphones captured a variety of signals of unknown origin.  Preliminary work indicates that the signals may originate from clear air turbulence, aircraft, wind farms, ocean waves, and cable vibrations on the balloon, but more investigation is required before definitive sources can be identified.  The sound files featured here have been sped up by 1000 times to bring the signals into audible range.

The HASP flight program is supported by the NASA Balloon Program Office (BPO) and the Louisiana Space Consortium (LaSPACE). Currently, HASP flies once a year in September from the Columbia Scientific Balloon Facility (CSBF) base in Fort Sumner, New Mexico.

Credit: HASP; UNC Chapel Hill/Department of Geological Sciences; Boise State University

High Altitude Student Platform Sound - 1000x

The University of North Carolina Chapel Hill's 2014 High Altitude Student Platform (HASP) mission placed infrasound (below audible frequency sound) microphones 22 miles above the Earth in order to quantify the acoustic wavefield of the stratosphere-the first time this has been done in half a century.  The microphones captured a variety of signals of unknown origin.  Preliminary work indicates that the signals may originate from clear air turbulence, aircraft, wind farms, ocean waves, and cable vibrations on the balloon, but more investigation is required before definitive sources can be identified.  The sound files featured here have been sped up by 100 times to bring the signals into audible range.

The HASP flight program is supported by the NASA Balloon Program Office (BPO) and the Louisiana Space Consortium (LaSPACE). Currently, HASP flies once a year in September from the Columbia Scientific Balloon Facility (CSBF) base in Fort Sumner, New Mexico.

Credit: HASP; UNC Chapel Hill/Department of Geological Sciences; Boise State University

High Altitude Student Platform Sound - 100x

PADDLE series "PDL001"

buy full version.
https://www.bgmlab.com/store

PDL001 (teaser edit)

Our third release will be this meditative masterpiece by Takashi Kokubo. 

Containing three tracks from the Sanyo air conditioner classic 'Get At The Wave' with a previously unreleased 15 minute 'Ocean Breeze' on the b side. 

Available for pre-order @ www.lagrecords.com

Underwater Dreaming

Framed Space: Selected Works 2014-2017

Lime

isolatedmix 33 http://soundcloud.com/heathered-pearls

1. Mr. Rogers Speech to Congress
2. KIDS Soundtrack - Second To Last Scene
3. Foxes In Fiction - Static Cults
4. Steve Hauschildt - The Impossible Flower
5. Yagya - Rigning Níu
6. Cuppcave - Circuit Fade
7. Pub - Derail
8. C V L T S - Realiser
9. The Sight Below - Unforetold
10. Piano Magic - Halloween Boat
11. Loscil - Coyote
12. Heathered Pearls - Raising Our Ashes
13. Solar Year - Currents
14. Boards Of Canada - Unknown

More info including tracknotes: http://asip.me/isolatedmix33

isolatedmix 33 - Heathered Pearls: In Memory Form

~ LAAPS 005 ~ [SEQ.01 - LP05]

artists : Tomotsugu Nakamura
album : Literature
duration : 40.24 mn
 date : July 13th, 2020

edition :
-  vinyl : limited to 200 copies / yellow colored vinyl / hand numbered 
- cd : limited to 200 copies / hand numbered + handcrafted, sealed

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pre-order : June 22th, 2020 / official release : July 13th, 2020

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All songs written and produced by Tomotsugu Nakamura

Mastered by Taylor Deupree
Artwork by Nicola Odemann
Design by Sprflxgrfzm

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Links :
https://laaps-records.com/
https://www.facebook.com/laaps.records/
https://tomotsugu.bandcamp.com/
http://tomotsugu.tumblr.com/

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℗ & © 2 0 2 0 - L A A P S - L A A P S 0 0 5

Tomotsugu Nakamura - Literature (album preview)

It began with ‘Kwaidan’, a simmering study on the lost art of Japanese ghost story-telling. Then there was‘Komachi’, baptized in the earthly winds and static that define its comforting sonics.

On ‘Kofū’, Meitei masterfully closes his trilogy of lost Japanese moods with an engaging interrogation of artforms and aesthetics as a provocation — or, as fashioned in the album’s subtitle, a “satire of old Japanese aesthetics”. Each entry’s distinct flavour hasearned Meitei acclaim for conjuring a bygone culture through his transportive form of ambient music. ‘Kofū’ arrives as a deconstruction of this approach. His first release with KITCHEN. LABEL, Meitei has quietly defied expectations set by his previous two albums, while continuing to challenge modern notions of Japanese sounds.

Once again, Meitei resumes his focus on a Japan that has long ceased to be. This time, ‘Kofū’ is deliberately playful in bridging a sensibility that connects this imagined past to the present. Fractured piano chords are the first to greet you on ‘Kintsugi’ before they make way for a spectral elegance that parades the haunted mask of Kwaidan on ‘Man'yō’. 

But like an ambient soothsayer schooled in the art of the 808s, Meitei quickly drives ‘Kofū’ with propulsion on ‘Oiran I’, which shares a sibling in Side B track ‘Oiran II’. On both songs, he builds tension served up by flickering hip-hop rhythms — achieved by carefully processing old drum and metal sounds — with a subversive spirit unforeseen in any of his work thus far.

Dissecting vocal recordings to the point of incomprehensibility, Meitei aims for something stirring beyond- words — not unlike J Dilla and his mountain of cut-up soul samples, or The Caretaker with decaying 78s. He abides by a principle attributed to the master Hayao Miyazaki: “Beyond logic speaks of human nature”.

‘Kofū’ allows full immersion into fragments of the past without the trappings of nostalgia. The tracklist is denoted by prominent (and unseen) figures of this history. Tracks ‘Sadayakko’ and ‘Otojirō’ are named after renowned entertainers from the Meiji era, while ‘Nyōbō’ is dedicated to a long-suffering line of working class women within a patriarchal Japanese society. The sounds of ‘Oiran’, sharing the name of the title bestowed upon courtesans, were sparked after learning about the treatment of red light district workers within this era. It paints a grim picture of baidoku (also known as syphilis) and its ravage spread.

These stories cloud the overall mood of ‘Kofū’, but Meitei takes a Mizoguchi-like approach to mould that unimaginable pain with tenderness. ‘Oiran 1’’s hidden subtitle is Hana, and ‘Oiran II’ is Shiokaze. As Meitei explains, “Hana means gorgeous and glorious. Shiokaze is the sea breeze — for her life.” Tracks like ‘Urameshi-ya’ and ‘Gen'ei’ provide a meditative space amidst the turbulence, while ‘Shōnen’ takes a turn for the cinematic. The eight-minute odyssey is engulfed by shadowy voice loops, mixed best for a headphone experience in a solitary setting.

Meitei bids farewell to an expedition first sparked by a passion for a long-forgotten cultural past. ‘Kofū’ is a definitive conclusion with an open invitation to listeners from Japan and beyond — encouraging continued appreciation of this sacred part of history, wholly untethered from the world at large.

‘Kofū’ will be released on LP, CD and across all digital formats via KITCHEN. LABEL. Chihei Hatakeyama mastered this recording in Tokyo, Japan.

Release Date:
CD, Digital - 25 Sep 2020
LP - 30 Oct 2020

Ⓟ & © 2020 KITCHEN. LABEL

Meitei - Shōnen (Kofū, 2020)

Apple Music
https://music.apple.com/jp/album/magic-hour/1570926573

Spotify
https://open.spotify.com/album/1OoQkcRJonsT1nluNMbZtd

Streaming

Q Ta

Hello, we’re NASA. You may have seen our astronauts, rocket launches, or Mars rovers — but have you heard our sounds? From interviews with astronauts and engineers to stories that take you on a tour of the galaxy, NASA’s audio offerings let you experience the thrill of space exploration without ever leaving Earth.

Quindar: Sound #1

NASA

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