Name: Cinders Origamibiro Remix by Origamibiro
Duration: 6 min 5 s
Description: Amanda Butterworth, an old friend and lead singer of Parisian trio Cocosuma, asked Origamibiro's Tom Hill to remix their track, 'Cinders', to promote the release of their album, "We'll Drive Home Backwards". This is it.

Nebel lang - Wake To Unfold [RTE023]
Pre-order NOW!
Limited Edition CDs & Digital
Out : 09 / 24 / 21
rottenmaneditions.bandcamp.com/album/wake-to-unfold

Nebel lang / Wake To Unfold - Time Stands Still

Japanese voice artist Hatis Noit returns with explorative new single Fernweh as a precursor for an Erased Tapes compilation titled Music for kō coming out on April 1.

Fernweh is a hymn for imaginary travel, allowing the music to take you on a journey. This self-produced piece, sung in a universal wordless language, sees Hatis Noit transcend boundaries through eerie, atmospheric sound explorations. Its German title, meaning a longing for exploring faraway places, captures the artist’s headspace at the time of recording.

“During the third UK lockdown in early 2021 I finally challenged myself to self-produce a whole song, which I hadn’t done before. Before, I wanted to focus on just using my voice rather than making music sitting in front of a computer, but the situation of lockdown challenged me to go on this new journey. Whilst making the piece, I felt a sense of missing going on physical journeys, and that sense of wonder that comes with travelling. So the song turned out to be a collage of memories of journeys I had so far as well as imaginary journeys I might have in the future. The whole process of making this healed the painful feeling of Fernweh for me somehow, and I hope it might have the same effect on others.” — Hatis Noit

The track is the opening piece to an upcoming Erased Tapes compilation featuring Rival Consoles, Masayoshi Fujita and Daniel Thorne, originally commissioned by Folie À Plusieurs in partnership with the Noguchi Museum in New York.

Music for kō

Fernweh

Hatis Noit — Fernweh

Peter Broderick announces comprehensive album of solo piano recordings, Piano Works Vol. 1 — shares first single 'Sonata for the Sirius'.

Listen & pre-order the album on 2LP / 2CD / DL: https://idol-io.link/PianoWorksVol1 

Ireland based American songsmith Peter Broderick announces the release of Piano Works Vol. 1 (Floating in Tucker’s Basement) — a new comprehensive album of solo piano recordings out November 25, sharing first offering Sonata for the Sirius. Shining a light on the artist’s ongoing piano-based compositions, this release offers an opportunity to celebrate his more intimate work.

A comprehensive collection of Peter Broderick’s piano work to date, these recordings were originally captured in Berlin to accompany the 2017 sheet music book Piano Works Vol. 1. The book contains 20 pieces for solo piano and a download code to access new recordings of all 20 pieces. Up until now, the only way to hear these recordings was to purchase the sheet music book.

This release sees the original recordings receiving further treatment and processing by Tucker Martine in the customised echo chamber of his studio in Portland, Oregon—the region where Broderick grew up. The clean and unaffected original recordings were intended for educational purposes, so for this release Erased Tapes founder Robert Raths suggested to ‘throw the recordings into the well’, for a more dynamic and conscious listening experience.

“We gave these recordings a bit of a makeover. We sent all the tracks over to legendary engineer/producer Tucker Martine, who processed all 20 of them with unique tape and reverb treatments, utilising the echo chamber of his Portland studio, Flora Recording & Playback,” explains Broderick.




Now these recordings are set to be released on double vinyl, double CD and all digital platforms. The opening piece and lead single Sonata for the Sirius is the only composition in this entire collection which cannot be found on any other release.

“It was during a stint as Artist in Residence at the Sirius Arts Centre in Cobh, Ireland that I began to take stock of all my piano compositions to date. Late into the night I would sit at the piano, trying to recall all that I’ve written on the instrument over the years, transcribing and notating these compositions for the first time, getting them out of my head and onto paper. At some point during this process a new piece emerged. Sonata for the Sirius seemed an apt title, in its homage to the place where it was written, but also in the greater context of Sirius — a star ridden with myth. Not to mention the fact that ‘Sirius’ comes out the mouth like ‘serious’, and the idea of a Sonata for the Serious, in my mind, is rather hilarious.”

Peter continues to tour with a handful of live dates coming up in Ireland and the UK. Starting with a show in Galway, sharing the bill with his dear old friend Shelley Short. Followed by a string of dates in the UK including the long awaited, sold out Hidden Notes Festival in Stroud, a return to Coventry at Draper's Hall, and his first ever concert in Chester at St Mary's Creative Space. October 15 sees him perform at Amplifest in Porto, and on November 5 he'll be celebrating 15 years of Erased Tapes with a one-day-festival at Printworks in London.

Piano Works Vol. 1 (Floating in Tucker’s Basement) will be available on November 25 via Erased Tapes.

Piano Works Vol. 1 (Floating in Tucker's Basement)

Sonata for the Sirius

Peter Broderick - Sonata for the Sirius

Rrl::Utopia  ..192
http://www.murcof.com/main.html 

Murcof - Una

There are only a few artists out there whose aesthetic resonates with my entire being. Jason van Wyk is one of them. And at this point, it almost seems that it doesn't matter which route he goes with his music - I will always be there, absorbing it all. Except, of course, that he manages to go down the same road that I've been on myself. These are richly textured cinematic atmospherics, with gently modulated open-air pads, moving bass, and elemental particles of rhythm and sound. Shuffling grains of lo-fi sonics ebb and flow like night-time waves. Everything appears to be perfectly held together, with just the right amount of reverb and space. And then the piano comes in. Maybe it's just a few notes, but it's enough to tell a story. And I am listening with awe. I've said this before and I'll say it again - perhaps the best compliment I can give to any musician is to say that I wish I'd make such music as them. And if imitation is the sincerest form of flattery, then let me imitate van Wyk's sound all day long. But all these words aside, here's a piece which I am honoured to premiere. It's called "Undoing" and it's just a glimpse into the Descendants, which I cannot wait to own on white 12". I hope that you agree.

Descendants

Undoing

TRACK PREMIERE : Jason van Wyk - Undoing

Boris Rogowski conceived the idea for The Waste Land in the autumn of 2020, when the world became quiet again after a deceptively easygoing summer. During a walk among the “last fingers of leaf” he revisited in his mind the landscape of T.S. Eliot’s enigmatic poem The Waste Land, a somber meditation on disillusionment, nostalgia and isolation in the “modern” world of the early 1920s. It had accompanied Rogowski for many years, and knowing entire passages by heart he found that the strange, tuneful lines had left him with a sort of musical map of the Waste Land. What he heard was a string quartet playing amid a stream of dissolving, permanently mutating sounds, seeking hold, losing it, coming up for air again. The music he envisioned melded contradictions into a cohesive whole, was strange yet universally accessible and – just like Eliot’s poem – an expression both of sorrow for a lost world and hope for a new beginning, deep admiration for classical tradition and disgust at the snobbery and ignorance of an elitist class trying to keep it under lock and key.

The even quieter winter months found Rogowski working long days and nights on the score, putting the music in his head to paper. Also, he quested for the sounds that would be able to represent the stream of synthetic memories that in his vision rolled through the music like the river Thames through the central portion of the poem—and found that they were already there, right in front of him: In the early days of the pandemic he and his friend and studio co-owner Bazzazian had harnessed the halt of everyday life to create a library of sounds that embodied their very own idea of style. For this purpose, they had sent their recordings of acoustic and electronic instruments through a specially devised processing chain, giving them an evocative, strangely timeless quality. It was only logical that those sounds would form the foundation of The Waste Land.

Later, in the spring of 2021, other musicians brought in their unique voices: Moishe Lichtfuss [flute, tenor sax] added his woodwind textures to many of the compositions, most notably on “The Sound of Horns and Motors”. Claus Schulte [drums] made a brief, yet crucial appearance on the centerpiece “The Violet Hour”. At last, the Waste Land String Quartet (Alexander Sachs and Irina Borissova [violins], Anna Krimm [viola] and Michael Preuß [cello]) recorded their parts under the baton of fellow composer David Menke who also played the solo piano on the brooding “In Rats’ Alley”.

The Waste Land is a unique musical cosmos that nonetheless touches upon many reference points, among them the minimalist music of composers like Michael Nyman and Philip Glass, Post Rock of bands like Tortoise or Swans and contemporary Experimental and Ambient works like those of KMRU, Christina Vantzou or Tim Hecker. Like Eliot’s poem, it contains a multitude of voices and fuses them to a music very much its own. The album begins with a wash of piano that carries splendor and melancholia in equal measures and ends with the pointillistic rhythm of Morse code spelling out the final words of The Waste Land, “Shantih shantih shantih”—peace.

In 2022, T.S. Eliot’s poem will celebrate its 100th anniversary. Its central themes—solitude, estrangement and a wounded world with an alarmingly uncertain future—are even more pressing today than they were 100 years ago. Boris Rogowski’s soundscapes embody the mood perfectly: The fear and darkness as much as the faint, yet stubborn hope for the light of a new day.

Boris Rogowski - Marie Marie

Release Date: 10.11.14

Birthed between the burning fields of Kansas and the surreal landscape of the New Mexican desert, Black Vines is a dense layering of monophonic drones, delayed sitar and large scale cello arrangements. 

Combining the distorted and blackened influence of Aaron Martin’s recent solo and collaborative work with Joseph Angelo’s love of ragas, industrial noise and meditative minimalism, the eight elegiac strands of Black Vines are tribute to redemptive growth that occurs in the shadows.

Mastered by James Plotkin, featuring tracks reworked from the original parts by Dag Rosenqvist with stunning artwork by Chris Koell.

Packaging includes letter-pressed covers, glass mastered CD, 10 x limited edition prints on heavy card stock with glassine bags, all resting inside hand numbered, scented black envelopes. Limited edition of 200 copies!

www.fluidaudio.bigcartel.com/mailing-list

Black Vines - Shadows (Dag Rosenqvist re-work)

Amanda Butterworth, an old friend and lead singer of Parisian trio Cocosuma, asked Origamibiro's Tom Hill to remix their track, 'Cinders', to promote the release of their album, "We'll Drive Home Backwards". This is it.

Cinders Origamibiro Remix

A Score for Darling

Erik K Skodvin & Rauelsson - The Return

from 'Supersonic Moth' [CD|LP|DIGITAL]
Denovali Records · den314
available on all formats at http://denovali.com/kubakapsa

Kuba Kapsa is a Polish pianist and composer - also known as the leader of the avant-jazz combo Contemporary Noise Sextet. Beyond that he's a renowned composer for film and theater plays. After presenting his composition works for ensembles in 2015 and 2016 he now returns to Denovali Records with his new piano solo album "Supersonic Moth".

The album is basically written for upright piano played through felt, programmed electronic sounds and processed piano recordings in order to create in-depth atmospheres and sonic landscapes with a wide range of stimulating moods. Based on piano ideas enriched with his improvisation skills, "Supersonic Moth" is mainly calm, dark and cinematic. Kuba Kapsa again managed the sophisticated feat to combine modern classic with subtle drones and floating soundscapes, accentuating his emotive piano play with a deliberate use of electronic elements. Some titles refer to the final poem at the end of the album about a moth which ends up dead, flying towards the light.

"Supersonic Moth" is the musical realization of a specific trait in human existence, dealing with the disruptive contradiction of desiring something that might break one down or even kill. Everything that might be tempting. Everything that can push you down. And you know it. But you can't resist it."

The impressive artwork for "Supersonic Moth" once again was provided by the collaborative artist team Kahn & Selesnick.

Supersonic Moth

Kuba Kapsa - Unspoken Is Better

Score I wrote using 20 layers of legato strings, performed on the Viola Da Gamba. This was a piece that never made the final cut of a film I was working on in 2020.

Cinders Origamibiro Remix

Origamibiro

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