Wow, this is something else, with it's breathing quality!

This is a fantastic concept and you've executed it really well in your composition I think!

Bandcamp: http://bit.ly/2afcKNF
Spotify: http://spoti.fi/2auGfNj
Soundcloud: http://bit.ly/1xAVlFp
iTunes: http://apple.co/2alEaRK
Youtube: http://bit.ly/2aAeJka

Album release page: http://jumpsuitrecords.com/album/pushing-through-the-pavement/

All music is Name Your Price! Jumpsuit Records is a music curation project of The Polish Ambassador

http://jumpsuitrecords.com

Every time you listen to Jumpsuit Records music, we make a donation to our non-profit, http://ActionDays.us, an organization that inspires and activates music fans through permaculture education and action days all around the United States.

Pushing Through The Pavement

Download⚡️Stream

The Polish Ambassador - Koyelia ft. Peia

Video: https://youtu.be/qnpk_mk57-M

“…eloquent opium! that with thy potent rhetoric stealest away the purposes of wrath; and to the guilty man, for one night givest back the hopes of his youth, and hands washed pure of blood...."

Thomas De Quincey (1821)

The title of my string quartet piece is drawn from Thomas De Quincey’s "Confessions of an English Opium-Eater" (1821). "Confessions" is an autobiographical account of De Quincey’s struggles with opium addiction. He took the drug in the form of laudanum, a popular opium tincture. De Quincey meditates first on the pleasures of opium, describing its effectiveness in aiding sleep, fostering a sense of wellbeing and assuaging psychological disquiet. He goes on to chart the decline of such pleasures into nightmarish visions, hallucinations and physical frailty. In the early 1800s little was known about the effects of narcotics: "Confessions" was one of the first publications to offer a systematic study of their regular use.

I was intrigued by the fact that Beethoven’s late quartets were published in the same decade as De Quincey’s famous work. In 'The Opium-Eaters' I respond to these two outputs, quietly exploring the idea of the epiphanic moment. The performers are asked to face inwards, a position that string quartets would have adopted when playing from the table music stands of the late eighteenth and early nineteenth centuries.

'The Opium-Eaters' was premiered by the Escher String Quartet in Taplin Auditorium, Princeton, March 2016. This recording is shared with their kind permission.

The Opium-Eaters (2016)

“Maisha” is the Swahili word for life.

This album to me expresses the feeling of embracing life in all its forms, with its different perspectives, moods, sounds, energies. In contrast to previous work, which was somewhat more reflective, this album was made with a lot of creative energy and drive. When starting each track I felt like I was overflowing with ideas that I had to try out and get down as soon as possible. Sometimes the inspiration would come from listening to various new albums on Bandcamp from around the world: jazz, African folk, hip-hop, Neo-soul, funk, afrobeat. Other times the inspiration would come simply from biking around Los Angeles and taking in sights and sounds from different parts of the city.

I think there can easily be pressure when making to album for it to feel as though each album has to embody a sophisticated concept or make some specific statement. Albums expressing abstract concepts or political or social statements are important for the musical culture, to be sure; but music is also an expression of where the artist is at spiritually, emotionally, and creatively at a certain point in time. This is what Maisha means for me. It represents the joys, excitements, and bursts of creative feeling, as well as the tranquility and nostalgia that I felt at times while making it. With this work, as with my previous work, I am ever seeking to defy genre. Of course, it’s clear that downtempo and trip-hop music form the backbone of what I am doing, but I am also trying to challenge those labels all the time by exploring different rhythms, scales, arrangements, and instruments.

I hope this album helps you find inspiration to express yourself or explore in whatever ways are possible or speak to you in your life, as it did for me.

Thanks for listening.

x

Tristan de Liège

Personnel:
Conor Malloy: Drums 
Parker Law: Drums
Yvette Holzwarth: Violin
Isaac Takeuchi: Cello
Moana Avvenenti: Vocals
Carly Barnette: Vocals
Selina Carrera: Vocals
Steven Robinson: Trombone
Henry Solomon: Flute, Saxophone
Tristan de Liège - Flute, Saxophone, Clarinet, Guitar, Bass, Percussion

All tracks written and produced by Tristan de Liège, except:
Hawa (feat. Carly Barnette) written by Tristan de Liège and Carly Barnette, and
Mbali (feat. Selina Carrera) written by Tristan de Liège and Selina Carrera.

Hawa (feat. Carly Barnette) (Radio Edit)

Giyo - Citadel (LP)
Written, performed, recorded, produced, mixed and mastered by Giyo. Artwork by Giyo.

Listen & Buy Citadel:
http://giyo.bandcamp.com
https://soundcloud.com/gi-yo
https://open.spotify.com/artist/4yaAWRaVs0TWFiFMUBNAvA
https://www.facebook.com/Giyo.Olly.Guy

Citadel

Telekinetic Symmetry

FUTURE ARCHIVE, VOL. 2 is the new label compilation from @futurearchiverecordings. Out 29 May 2020 and featuring 15 brand new tracks from 15 artists!

BUY / STREAM --> https://ffm.to/future-archive-vol-2
_____________________________________________________________

Track Listing:

01. Starkey [@starkbot] - Clay
02. Kognitif [@kognitifofficial] - Creamy
03. il:lo [@il-lomusic] - Ntili Ntili
04. Arms and Sleepers [@arms-and-sleepers] - Olivia Hutton
05. Asta Hiroki [@asta_hiroki] - You & Me
06. Natasha Kmeto [@natashakmeto] - trust issues
07. Yppah [@yppah] - Grey Eyes
08. CLD.RĀN - /ˈwɪdəʃɪnz/
09. CNJR [@cnjrmusic] - Mines
10. Michal Menert [@michalmenert] - Sorry
11. Daily Bread [@daily-bread] - Thank You, Appreciate It
12. NOTME [@momslovenotme] - Moonlight City
13. Sun Glitters [@sunglitters] - Things Undone
14. ERA C T NOD 1 [@eractnod1] - idk, idc
15. drab [@drabsounds] - nothing

BUY / STREAM --> https://ffm.to/future-archive-vol-2
_____________________________________________________________

INQUIRIES: hello@futurearchiverecordings.com
_____________________________________________________________

Future Archive, Vol. 2

Clay

BUY / STREAM

Starkey - Clay

Musical Style: psychedlic funk, rock n roll, jam 

Musical Influences:  Phish, Jimmy Smith, Led Zeppelin, Jimi Hendrix, Grateful Dead, James Brown  

Musical Inspiration:   Being in that studio & recording straight to tape! 

Artist Statement: We got to the Color Red house, settled in, & started jamming. The origins of this song came out of that first fully improvised jam we played in the studio while we were just getting sounds! That night we tightened a few things up & recorded it in the morning! 

Track Description: 

Produced by Josh Fairman & Eddie Roberts

Credits:
Marcus Rezak - Guitar (Electric)
Bill Evans - Saxophone
Arthur Barrow - Bass Guitar (Electric)
Kris Myers - Drums
Joel Cummins - Keyboards

Tracking Engineer - Josh Fairman
Color Red Studios

Mixing Engineer - Josh Fairman
Laskin Productions

Mastering Engineer - Doug Krebs
Doug Krebs Mastering

Entirely

Color Red Music

Star Kitchen - "Entirely" | Color Red Music

064 - 09/08/2000 Pepsi Arena Ghost (07:54-15:08)

CORPUS DEI is the new album from @arms-and-sleepers. Out Dec. 4, 2020 via @FutureArchiveRecordings.

LP / CD / CASSETTE / DIGITAL / T-SHIRT / BUNDLES
https://ffm.to/corpus-dei
_____________________________________________________________

Arms and Sleepers continue their journey through a turbulent 2020 with the 5th installment in their 6-part music series being released this year. The new full-length album, titled CORPUS DEI, will be out on Dec. 4 via Future Archive Recordings.

Arms and Sleepers is the electronic music duo Max Lewis and Mirza Ramic. Formed in Boston, USA in 2006, the group has amassed over 30 releases, nearly 2,000 live performances, and countless TV and Film music placements in their 15-year history. 2020 has been the group’s busiest year yet, and the upcoming new album CORPUS DEI looks to add another signature stamp in Arms and Sleepers’ diverse music catalog.

Written and produced throughout 2020 – while on US and European tours, unplanned quarantine in Latvia, and settling into a new home in Berlin – CORPUS DEI is a surreal musical journey that feels both free-spirited and highly tense. It is the culmination of a fragile, uncertain and difficult year, and a closing statement on an ambitious, multi-release conceptual project. CORPUS DEI is Arms and Sleepers’ fourth full-length album released in 2020 alone, which also saw the release of several EPs, standalone singles, and remixes. Each release has revolved around the idea of “self-destruction”, an eerily relevant topic that was conceived well before the pandemic-stricken year. Writes Ramic: “I started planning for this 6-part music release in 2019 as a way of dealing with and processing my own increasing existential obsession with mortality, meaning, and ultimate absurdity of life. I wanted each release to capture some broader, objective elements of human life as well as some more personal, subjective experiences. Little did I know that I would end up living in isolation in Latvia for nearly 4 months earlier this year. It was an incredibly bizarre period of my life, as it was—and continues to be—for much of the world.”

CORPUS DEI combines the varied sounds of Arms and Sleepers’ recent releases, merging elements of instrumental hip-hop, IDM, electronica, downtempo, and ambient music. The intricately textured beats and densely layered synths form a sonic palette that should be familiar to fans of Arms and Sleepers, but the static-induced, noisy and unsettling atmosphere of the album as a whole adds a new dimension to the group’s catalog. Experimenting more closely with sound design and focusing on the overall compositional flow, Arms and Sleepers manages to create a record that seems to—for better or for worse—capture the dreadful emotional weight of 2020. Writes Ramic: “The various song ideas for CORPUS DEI were written throughout 2020 in what seem like impossibly different contexts: a few days off on tour in Augusta, Georgia in warm southern weather in mid-February; a tiny hotel room in Odessa, Ukraine on the first day of a European tour; a strange 4 months in Riga, Latvia while stranded there in the midst of a pandemic; and a rejuvenating new chapter of my life in Berlin, Germany despite the continued uncertainty about the pandemic. This album feels like a collection of estranged fragments of my life this year – a year that has felt like an eternity.”

CORPUS DEI releases on Dec. 4 via Future Archive Recordings and will be accompanied by various special cinematic visualizers.
_____________________________________________________________

INQUIRIES: hello@futurearchiverecordings.com
_____________________________________________________________

CORPUS DEI

Speak Words, Tell Me Nothing

BUY NEW ALBUM

Arms and Sleepers - Speak Words, Tell Me Nothing

Written and Recorded by yMusic
Mixed by Jason Lader at Soundslikemylife Labs

Turkey Transfer

Lifeflight

'Sunset In The Deep End (Remixes)' is the new release from @yppah. Out March 5, 2021 via @FutureArchiveRecordings.

BUY / STREAM --> https://ffm.to/sunset-in-the-deep-end-remixes
_____________________________________________________________

Remixes of songs from the Yppah album 'Sunset In The Deep End':
https://ffm.to/sunsetinthedeepend
_____________________________________________________________

INQUIRIES: hello@futurearchiverecordings.com
_____________________________________________________________

Sunset In The Deep End (Remixes)

Shadows Climb The Wall (CNJR Remix)

Yppah - Shadows Climb The Wall (CNJR Remix)

Ninfea Cruttwell-Reade is a composer and cellist based in Edinburgh. Composing for old, new, and damaged musical instruments, her past projects have included works for symphony orchestra, viols and theorbo, percussion quartets, a homemade glass harmonica, flower pots, and a fire-damaged piano. Recent works include commissions from the Dunedin Consort, the Chelsea Music Festival in New York, and Edinburgh Youth Orchestra. Her orchestral compositions have been played by the London Symphony Orchestra, the Royal Scottish National Orchestra, and the New Jersey Symphony Orchestra. She is currently the Presteigne Festival’s ‘Evolve’ composer for 2020–25 and a composer-in-residence at Glyndebourne.

In 2019–20 Ninfea received the Psappha Ensemble’s Peter Maxwell Davies Commission for which she composed a piece for sitar and chamber ensemble. This project was supported by the PRS Foundation’s Composers’ Fund, enabling her to purchase a sitar and take lessons with sitarist and composer Jasdeep Singh Degun. The commissioned work, Patdeep Studies, was her first attempt at exploring a raag in the Hindustani classical tradition and will be shared online by Psappha in 2021.

Ninfea has been a recipient of a Royal Philharmonic Society Composition Prize and of a composition fellowship from the Tanglewood Music Center. In 2018 she was commissioned to write Table Talk, a large ensemble brass work for the Tanglewood Music Festival, and her percussion quartet Hatters was programmed at the festival the following year performed by Boston Symphony Orchestra percussionists. 2019–20 saw the continued circulation of her work in the United States with performances of The Opium-Eaters by the Kaleidoscope Chamber Orchestra in Los Angeles, and Devil’s Minion by the Metropolis Ensemble in New York. Previous collaborations have included works for Sō Percussion and the JACK Quartet.

Trained in cello performance and the academic study of music, Ninfea holds degrees from the University of Oxford and the Royal Academy of Music in London. She is currently a doctoral candidate in music composition at Princeton University. Five Letters from Aubrey Beardsley, her song cycle for countertenor and prepared piano based on letters by the art nouveau illustrator, was filmed in Princeton and shared online in 2020.

The Opium-Eaters (2016)

Ninfea Cruttwell-Reade

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