DUNGEON ACID "LIVE AT FYLKINGEN" Cassette released on iDEAL Recordings in 100 copies. Recorded at Fylkingen, Stockholm on March 20th 2010.

DUNGEON ACID - LIVE AT FYLKINGEN

Κλασικό Πιάνο για Μωρά

Aria from Goldberg Variations BWV 988.

Entre Lágrimas y Acordes

El Dolor en las Notas

As it grows increasingly apparent that humanity lacks the wherewithal to unify over the existential threat of climate change, my response has been to write music intended to evoke, in the hearts and minds of those who hear it, a comprehension that it is humanity's obligation to act as caretakers, rather than destroyers, of the life that surrounds us. This album includes three orchestral works from my Music for the Earth series.

GAIA’S LAMENT. In the background, music for violin and orchestra was playing for quite a while, but I didn’t quite muster the courage to embark on writing it down until recently. At the time I began to think seriously about writing a concerto for violin, the United Nations was in session and what, if anything, would come out of the climate change discussions was the hot topic of the day. The young activist Greta Thunberg had sailed to the U.S. on a solar powered sailing vessel and having been invited to speak before the assembled members, gave all of the adults in the room the thrashing they well deserved. With all of this going on, somehow a scene from the 1960 film of H.G. Wells “The Time Machine” kept coming to mind – a brief scene where he travels to the far, far distant future to arrive to find a dying earth, a huge red sun suspended on the horizon, and a desolate landscape nearly devoid of life.

It was with this somber vision that I set about writing music, filled with sorrow at what our species is doing to our only home, with little hope that we have the awareness, rationality or willingness to act as we must.

GAIA’S SONG.  A companion work to Gaia’s Lament, this bucolic music was nearing completion when the Intergovernmental Panel on Climate Change published its Sixth Assessment Report, Climate Change 2021. While reading the findings of the report was, unsurprisingly, deeply distressing, my vision for the earth which helped inform the writing of the music is the opposite. A vision for humanity that is built on hope rather than the reality of human nature, one where humans come to recognize our responsibilities as caretakers rather than destroyers of the earth and the living creatures with whom we share the planet. This is gentle music, intended to inspire a gentler approach to living.

Whatever anger or despair I feel at the realization that our species will prove, in all likelihood, incapable of taking the necessary actions to stave off environmental catastrophe in the coming decades, I laid those feelings aside when writing this song. Let Gaia sing, not a song of lament, but a song of peace and hope.

SEASON OF RAIN. A symphony in four movements, composed during a mostly rainy season. The music is also a rather somber reflection on the state of the world, as it becomes devastatingly apparent that climate change is a certainty and, at the same time, the rise of populist politics around the world makes it equally certain that humanity will not respond to the alarms.


Gaia's Song (Andante)

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A Dirge for the Lost

Flow

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Something to play (noire pure)

世界の約束

#ambient #piano #instrumental #Relaxing #sleep music #meditation#soothing #peaceful #emotional #new age

可逆性

Intentions is a journey through the deep love and unbreakable bond I shared with my dad. It reflects the paths we traveled together — his intentions in shaping my life, my intentions in caring for him in his declining years, and the lasting legacy he leaves behind.

This project is rich with personal meaning, infused not only with music but also with my father's voice.
Many audio samples throughout the album come from tapes and recordings he made throughout my life - drawn from voicemails, videotapes, and even a 1998 Manchester Craftsmen's Guild interview with Dwayne Dolphin. Some of these samples are obvious, while others are purposefully subtle - Easter eggs for those who listen closely. This album is filled with treasures from the Heid archives, preserving his presence, and making him an active part of this work.

The word intentions holds many meanings, each offering a profound connection to the heart of this project. My father's intentions were clear from the start: to raise me as a musician and composer and to give me the tools to create and express myself. He was the cornerstone of my musical foundation, shaping not just my skills but also my understanding of music's deeper purpose. He believed in me completely, planting seeds of passion that continue to grow.

In my father's later years, as his health declined, my focus shifted to caring for him with the same love and devotion he had always shown me. Those years taught me a hard but valuable truth: even the purest intentions don't always lead to the outcomes we wish for.

Heid Studios was his dream, a place where his intentions extended far beyond our family, inspiring creativity in others. That dream was itself a continuation of a legacy passed down from his father, George H. Heid, who founded the first recording studio in Pittsburgh - a studio that captured the brilliance of Pittsburgh jazz legends like Billy Strayhorn and Erroll Garner. This album's cover artwork, by Michael Crampton, depicts the house and recording studio my father and I built together over the course of my entire lifetime - our home and creative sanctuary, immortalized as part of this musical journey.

This album is my way of speaking to my dad again.
It's a tribute to his bravery, his sacrifices, and the bond we shared as kindred spirits — two lives deeply intertwined through love and music. Intentions is the story of our journey together, the foundation of his legacy, and the future that lives on in me.

Not a day passes that I don't think of my dad, my heart heavy with both love and loss. He often reflected on memories with his own father and their great relationship, wistfully asking, "Were they only dreams?" — a question that now echoes in my own memories of him. When I was a child, whenever we were apart, he would soothe me with the comforting words, "See you in dreamland."

Thank you, Dad, for your wisdom, your unwavering belief in me, your endless love, and the countless memories and adventures we shared together. Until we meet again - see you in dreamland.

- George Heid III 

I Sing The Body Electric

Soundtrack of a Thai Movie, How to make millions before grandma dies.

Grandma's Home

"Intermezzo," 1969, by Jeraldine Saunders Herbison, b. 1941, USA, Piece No. 13 from Music by Black Composers, Flute Volume 1.

Created in partnership with the National Flute Association. (https://www.nfaonline.org/)

Music by Black Composers is a project of the Rachel Barton Pine Foundation. For more information, please visit www.musicbyblackcomposers.org/ and www.rbpfoundation.org/.

Dr. Paula Gudmundson, flute
Dr. Diana Shapiro, piano

Donald Schraugnagel, post-session producer and engineer

MBC Flute 1-13, Herbison - "Intermezzo" (FLUTE AND PIANO)

Neurotic Drum Band remix of Chris Carter's 1985 track 'Moonlight', taken from the forthcoming release on Optimo Music. Other tracks include a remastered original version and a brooding Oneohtrix Point Never remix.

Please note that the tracks aren't remixes but rather reinterpretations as there were no parts to work with and they had to start from scratch.

Available soon on Optimo Music, please visit http://www.facebook.com/pages/Optimo-Music/195709266632 for details.

Chris Carter -  Moonlight (NDB Remix)

ニュー・ディスコ界隈で異様な盛り上がりを見せる絶好調デュオSeahawksが新レーベルOcean Moonを立ち上げセカンド・アルバムをリリース！

ニュー・エイジ・アンビエント、バレアリック・ディスコ、チルウェイブ、そしてAOR！？までが混在するインディ好きにもダイブしてほしい煌めきと黄昏の新世界！！例によって完全限定生産となりますのでお見逃しなく！！

リリースごとに反響が大きくなる注目の新世代バレアリック・デュオSeahawksより早くも２枚目となるフル・アルバムが届きました。デビュー作ではニュー・エイジ感溢れるアンビエンスたっぷりのシンセ・サウンド、先日リリースされたミニ・アルバムではスティールパンやパーカッションなどアコースティックな趣が強くなったトロピカルなバレアリック・ディスコ・ダブを披露。

今作はその二つにサックスやエレピのAOR的なムードも漂わせ、過去、現在、未来が交差する10年代ならではのノスタルジアが凝縮された上質なチル・アウト・ミュージックへと仕上がってます。これはもう職人技と言えるでしょう！！

Seahawks - Hot Space

Last piece on the upcoming POGROM - Electronic Music by Jan Svensson LP on iDEAL/UFO MONGO. Limited edition of 300 copies. White vinyl and b/w inlay. POGROM was recorded in 1990 in the excellent Studio Styrka in Johannishus, Sweden but abandoned for some reason. I think we planned to release it as a cassette. Jan Svensson is the man behind Börft Records, and is a member of the synth trio FRAK and psychedelic analogue drone duo Alvars Orkester. POGROM is released in December 2011. 

JAN SVENSSON/POGROM - HAPPENING

"Rough" - taken from the DIMITRIOS K untitled debut album on iDEAL (iDEAL094)!!! Dimitrios K is a legendary techno dj based in Gothenburg, Sweden and the man behind a line of classic dance clubs from the mid '90s till now. He is a man breathing deep electronic rhythm rituals. The LP is pressed in 500 copies only, on pitch black vinyl of course.

DIMITRIOS K - Rough

Disquiet Junto Project 0036: Still Life 

<i>The painter Clyfford Still (1904-1980) was one of the great practitioners of abstract expressionism. The Clyfford Still Museum in Denver, Colorado, not only houses a wealth of his works, it also has on display artifacts from Still's daily life and practice, such as his smock, his old paint cans — and his record collection. These records, displayed behind glass, include pieces by Wagner, Mozart, Beethoven, and Bach, among others, and they're accompanied by a small note: "Clyfford Still was passionate about music, particularly classical music. Shown here are several samples from his record collection." In this week's project we're going to take that word "sample" literally. 

There's an interesting question inherent here about matters of aesthetic influence: how it is that the man who painted such massive and graphically evocative works was, in fact, listening to music far more figurative than the art he himself produced? The goal of this week's Disquiet Junto project is to take a shared sample of the sort of music that Still loved — a 78rpm recording of J.S. Bach's Brandenburg Concerto No. 2, II. Andante — and turn it into something that might be deserving of the term "abstract expressionism." 

So, the instructions for this week are as follows: 

Step 1. Please select part of the designated MP3 of J.S. Bach's Brandenburg Concerto No. 2, II. Andante.

 Step 2. Then transform that sample, through any methods you desire, into something that you feel meets the definition of "abstract expressionism" provided by the Clyfford Still Museum: "marked by abstract forms, expressive brushwork, and monumental scale." 

You cannot add any sounds to the sample, but you can manipulate the sample in any way you see fit.</i>
--------------------------------\

I looked at Still’s abstract work, alongside his earlier work, and I decided (conveniently for me) that he was doing with paint what I sometimes try to do with sound – going deep inside former works, digging out the hidden elements inside their representational exteriors… reaching into the fractal interior, if you like, trying to pull out and display on canvas the strange misery that is part of the human condition. One of his earlier works,  PH-79, struck me particularly. It is a grotesque Pieta, possibly inspired by the events of the Dustbowl, but presciently painted only four years before the outbreak of a war that would end with the revelations of the Death Camps and the generation of images that would change Art and Society forever.

Adolf Busch, whose Chamber Players recorded the piece we are using, was so revolted by the rise of Nazism that he left Germany in 1927 for Switzerland, migrating to the USA when WW2 erupted.

I chose the last twenty seconds of Bach’s moving piece to work with. More ambitious than usual, I wanted to recreate the almost unbearably sad mood of Samuel Barber’s haunting Adagio For Strings, so I stretched the sample using four different methods and tonalities and mixed them together. I then fed the sample into ambient v.3, rode the delay controls as carefully as I could and cut up the resulting track, rearranging it to suit the dynamics of the 8+ minute ambient version that the stretching and mixing had produced. I then interpolated the original sample, with its wonderful aged and shellac-surfaced ambience, near each end of the piece.

This track is a transformation, in honor of painter Clyfford Still, of a sample of J.S. Bach's Brandenburg Concerto No. 2, II. Andante, culled from this recording:

http://archive.org/details/J.S.BachBrandenburgConcertoNo2 ;

More on the Clyfford Still Museum at clyffordstillmuseum.org.

More on this 36th Disquiet Junto project at:

http://disquiet.com/2012/09/06/disquiet0036-cstillconcerto/ ;

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/info


Andante [disquiet0036-cstillconcerto]

Independent label and distributor in Tokyo, Japan specializing in indie / underground music from Indie Rock / Electronica / Alternative, Ambient / Drone / Experimental,   Jazz / Crossover / Avant-grade, Techno / House / Disco, Beat / Downtempo / Dubstep.

We are here to seek new talent and inspire your music life. You can put your music in our dropBox or make contact with us via soundcloud. Any music and style is welcome and appreciated.

All music on this account is fully authorized by labels and artists. However, if you find contents infringing your copyright and the information is incorrect, please give us a notice. We'll act on your requests immediately. 



Seahawks - Hot Space

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