ambient

ностальгия

Agape by Nicholas Britell (slowed & reverb)

cassette soundscape X

hard to upload music 

i just need a space

more music is coming

message me on insta @analog_mannequin - i make soundscapes and glitchart all the time& would love to make a sick vhs tape for u if that’s ur thing

milk cassette x.mp3

daniel.mp3 - green to blue (slowed & reverb)

non-profit on my behalf.

all credits to øneheart <3

øneheart - apathy (slowed reverbed)

analog_mannequin - milk cassette x.mp3 (slowed)

Exitmusic - "The Cold" from 'Passage' out now on Secretly Canadian. 

iTunes: http://smarturl.it/exitmusic

Exitmusic
Artist Page: http://www.secretlycanadian.com/artist.php?name=exitmusic
Website: http://weareexitmusic.com/
Facebook: https://www.facebook.com/weareEXITMUSIC
Twitter: https://twitter.com/weareEXITMUSIC
Instagram: http://instagram.com/weareexitmusic

Exitmusic - "The Cold" from 'Passage' out now on Secretly Canadian

Passage

The Cold

Download on iTunes

Exitmusic - The Cold

music video: https://youtu.be/D682dSewGfA
thank you for the millions of streams on this song on spotify,
as well as the thousands of videos on tiktok using the audio.
seeing you all living your life to this song i just randomly made one day in my room after a good bike ride, i had no idea it would reach so many people. thank you all for listening and showing me your world on tiktok, and you all have in turn changed my world streaming this song so many times on Spotify. thank you all so much. i know soundcloud is a bit dead these days, but if you would like i can share music here too, and not just to spotify. let me know! big love
https://open.spotify.com/artist/7pxIYxdkx2675ZGKSAPBAy

as an update, i am writing this on 7/4/23 - i am currently writing more ambient music as well as nothing is real, part XIX (19). i am excited to share with you all this new music :) and again, thank you all so much for streaming the heck out of these songs on spotify. it truely means the world to me. thank you so much. it has made the situation with my health a million times easier. <3

ambient vol 3

numb

M.flare.11

DUST

Playing with Hymn 7 of The Pearl of Saint Ephrem

The Moth And The Worm

Suzanne Ciani
Buchla Concerts 1975
FKR082LP
Finders Keepers Records

Finders Keepers invite you to witness the incredible first ever Buchla synthesiser concerts/demonstrations providing a distinctive feminine alternative to The Silver Apples Of The Moon if they had ever been presented in phonographic form. This is history in the remaking.

This spring Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we’ve come to understand it. To describe this records as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity. This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record it’s daunting to learn that this record was in fact not a record at all… It was a manifesto and a gateway to a new world, that somehow never quite opened. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation/grant application/educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. Hopefully there is still chance.

In short, Suzanne was a self-imposed twenty-year-old employee of the Buchla modular synthesiser company, San Francisco’s neck and neck contender to New York’s Moog. Buchla was run by a community of festival freaks and academic acid eaters whose roots in new age lifestyles and the reinvention of art and music replaced the business acumen enjoyed by its likeminded East Coasters. In the eyes of the consumer the creative refusal to adopt rudimentary facets like a piano keyboard controller rendered the Buchla synthesiser the more obscure stubborn sister of the synth marathon, steering these incredible units away from the mainstream into the homes and studios of free music aficionados, art house composers and die-hard revolutionaries. Championed and semi-showcased by composer Morton Subotnick on his albums The Bull and Silver Apples Of The Moon, Buchla’s versatility began to open the minds of a new generation, but the high-end design features and no-compromise modus operandi was often confused with incompatibility and, in the pulsating shadow of Moog’s marketing, the revolution would not be televised nor patronised. Suzanne Ciani, as one of the very few female composers on the frontline (and also providing the back line) did not lose faith.

These “concerts” are the epitome of rare music technology historic documents, performed by a real musician whose skills and academic education in classical composition already outweighed her male synthesiser contemporaries of twice her age. At the very start of her fragile career these recordings are nothing short of sacrificial ode to her mentor and machine, sonic pickets of the revolution and love letters to an absolutely genuine vision of and ‘alternative’ musical future. In denouncing her own precocious polymathmatic past in a bid to persuade the world to sing from a new hymn sheet, Suzanne Ciani created a bi-product of never before heard music that would render the pigeon holes “ambient” and “futuristic” utterly inadequate. Providing nothing short of an entirely different feminine take on the experimental “records” of Morton Subotnick and proving to a small, judgmental audience and jury the true versatility of one of the most radical and idiosyncratic musical instruments of the 20th century. These recordings have not been heard since then.

Suzanne Ciani - Buchla Concerts 1975 (Excerpts)

Balam Acab Just Stay

Pogo- Forget DAYCORE/VAPORWAVE

Premiering on the Ransom Note: https://bit.ly/2MyJojX

"An enchanting new album." - The Ransom Note 

Heinali is the alias of self-taught composer and sound-designer Oleg Shpudeiko from Ukraine. Now well established under the name he brings along his latest full length ‘Iridescent’ due for release on October 12th on Injazero Records. 

Having garnered rapturous responses to his earlier output and last year’s ‘Anthem’ Oleg continues to push the boundaries and experiment with altering mood and atmospheres of any space - with abstract yet deeply personal transmissions of ambient synthesiser work and subaqueous, minimal techno contortions. 

‘Iridescent’ consists of fragments of studio improvisation sessions recorded in 2016 and 2017, some of them recorded in one unedited take on a modular system and some layered and later morphed into compositions. As the title suggests Heinali crafts shimmering, incandescent portraits, rich in his unique characteristics and compositional liberty. 

Apart from the “musical sculptures,” that represent the bulk of this LP, Oleg was interested in the exploration of polyphonic capabilities of the modular system. ‘Rainbow Folding’, a loose homage to Terry Riley’s 'A Rainbow In Curved Air,' features an interplay of several independent, but distinct voices and their processed shadows — ‘ghost voices’. In 'Shadow Invention’ eerie atmospherics steal the spotlight and dominate the composition, ending in a cacophony of the ‘ghost voices’. 

Oleg says of the album, “it’s a kind of studio dairy. A reflection on the development of my relations with the hardware instruments and exploration of them as channelling vessels for my experiences and ideas.” 

“One can think of Iridescent’ as ‘musical sculpture’ analogy — when the body of music stays the same, but its surface is flickering with various colours over time — sometimes in a subtle manner, sometimes loud and clear. Or it can be understood in the context of various colours of polyphony, or as a liminal condition of the colour as if it’s being ‘stuck’ in the mist of twilight zone between neighbouring colour-states, so it can’t become a particular colour and is in a flickering kaleidoscopic state.” 

‘Iridescent’ bares Oleg’s style of sonic storytelling and austere, otherworldly textural embellishments that bring to mind Ben Frost, Akira Yamaoka, and Oneohtrix Point Never but also plants the seed for much more club ready electro. ‘Starling Reprise I’ is a scorching piece of ambient techno that conjures Four Tet, LTO and Susumu Yokota’s blissful, kaleidoscopic synth work whilst ‘Starling Reprise II’ retains the frosty, steely ambience that has become Heinali’s calling card. 

Cover artwork by Olga Gaidash.
Mastered by Taylor Deupree at 12k Mastering.

Pre-order

Heinali - Rainbow Folding

Santiago del Porro - Broke (instrumental)

ambient synth + shortwave theohauntology experiments

The Moth And The Worm

Pharoah Tickles The Sun