is this music free to use for YouTube Video?

Murcof:a huge influence for me ! Most interesting sounds now in music industry! A genius!

Can I use your music to perform contemporary dance? I will specify your origin information as we perform and make videos. I hope to get your consent so our works are better! sincerely thank you

무용음악

Moga Harra - SAYED & SHAHINDA

The Pigeon Tunnel (Soundtrack from the Apple Original Film)

Where to Begin

Music from the contemporary dance-theatre-piece "Don Nadie- Herr Niemand" by the COOPERATIVA MAURA MORALES
Foto: Klaus Handner
Check out also the clip:
https://www.youtube.com/watch?v=EBz_1aTCWkU&feature=youtu.be

Methadone

From the frozen ruins of forgotten realms to the endless skies of alien worlds, OrchraX invites you into a saga where fantasy and science fiction collide. Inspired by the grandeur of Skyrim and the vastness of Halo, this album blends orchestral power with ambient mysticism, creating a soundtrack for a roleplay game that exists only in imagination.

Opening with “The First Legend”, a spoken-word prologue delivered with the weight of ancient prophecy, the journey unfolds across cinematic soundscapes: battles fought beneath shattered moons, ruins echoing with the voices of the past, and destinies written among the stars.

This is more than music — it is a tale told in sound, crafted for dreamers, gamers, and seekers of other worlds. Step beyond the stars, and let the legend begin.

Echoes of the Ancients

Violan for Padshop 2 continues the groundbreaking orchestral FX string expansion series, reimagining the viola as a powerful cinematic sound design tool. By transforming traditional articulations and percussive strikes on the instrument’s top plate, pegs, and bridge, Violan delivers an extraordinary palette of textures that go far beyond the concert stage.

Inside, you’ll find evolving pads, re-synthesized comps, chromatic percussion, and a wide range of orchestral FX including risers, glissandi, and clusters. These are paired with dark soundscapes and rhythmic suites of strings and percussive elements, offering endless inspiration for tension, atmosphere, and movement.

Perfectly suited for science fiction, epic thrillers, and horror, Violan empowers sound designers, film scorers, and trailer composers with apocalyptic intensity and ethereal beauty—unlocking new dimensions of creativity.

Violan - Illuminating Pond - Gary Gibbons

Piece written for my dear friends Jaga & Bartosz

violin - Kornelia Grądzka
cello - Dobrawa Czocher
piano & composition - Hanna Raniszewska
record engineer - Piotr Wieczorek
2016

2015 

love

Solo Remains are previously unreleased tracks from Nils Frahm’s album Solo, which was recorded on the M370, the world’s largest piano, built by the visionary piano maker David Klavins in 1987.

Nils fell in love with the sound of this giant and joined David for the new project – building an even higher piano – the Model 450. The aim of it is to explore the not yet reached physical limits of the piano instrument and also to push forward into new musical dimensions. The M450 will be characterized by an even clearer sound with more depth and richness of overtones as well as an unrivaled frequency spectrum and intensity of sound and tone. In time for the 2nd anniversary of Piano Day, Nils decided to give four previously unreleased songs from that very session to his fans and supporters of the Klavins 450 project.

“In the end, every album production leaves you with the same tough task – making the choices for the final track selection. You leave out some tracks for various reasons: some of the tracks are wonderful by themselves, but they simple don’t fit anywhere in the album and others have to be left out because otherwise the vinyl would become too long for a cut in good quality. However, these outtakes are often as important as the final selection and I thought, they might be a great surprise for Piano Day too. I hope in this case, it’s both …”

Solo Remains is available for free download in 24-bit and mp3 format.
http://www.nilsfrahm.com/works/solo-remains/

Musical excerpts of the contemporary dance production "Stadt der Blinden" by COOPERATIVA MAURA MORALES.
Check also the video clip:
https://www.youtube.com/watch?v=DDgqTYlo43A&feature=youtu.be
Foto: Klaus Handner

Small Spaces (Excerpt)

Musical excerpts of the contemporary dance production "Stadt der Blinden" by COOPERATIVA MAURA MORALES.
Check also the video clip:
https://www.youtube.com/watch?v=cs3uEiRN208&feature=youtu.be
Foto: Klaus Handner

The Rape (Excerpt)

Pre-order 'Union Cafe' on LP/CD/DL: http://phonofile.link/union-cafe

Erased Tapes has the huge privilege of reissuing the original Penguin Cafe Orchestra’s last ever studio album Union Cafe including a first time vinyl edition — out December 1st 2017 to coincide with the 20th Anniversary of founder Simon Jeffes’ passing in 1997.  

It was 1972 in the South of France when Simon had an unfortunate experience with food poisoning which lead to a much more fortunate circumstance when a vivid dream, induced from his illness and depicting a dystopian future, conceived the Penguin Cafe; a charming place where solace, harmony, and the orchestra’s unique music could be found amidst brutal concrete structures and darkness. For the following 25 years, Simon carried out this vision bringing brightness into a world full of noise. Sadly, after his passing, the original orchestra disbanded, but the doors to this happy place reopened when his son Arthur decided to continue his father’s legacy under the name Penguin Cafe.

The continuation of the PCO began at London’s Union Chapel in 2007 when Arthur and the original musicians commemorated Simon 10 years after his death. Another 10 years forward, 2017 will see Penguin Cafe pay tribute to him once again at the Union Chapel on December 11th where they will perform Union Cafe in full – a union from all corners of this magical world.

Union Cafe was the fifth, and the last studio album by Penguin Cafe Orchestra. It was initially released in 1993 merely on cassette and CD, and will now be given a new breath of life, for the first time available on vinyl, and another chance to reach old and new fans alike. 

“Union Cafe was the last studio album recorded by the original Penguin Cafe Orchestra and marked a move towards a definitive English pastoral sound combined with larger string arrangements set against longer solo piano pieces. With this last album they got even closer to the PCO idea of squaring the circle of intellectually challenging modern music that is still actually beautiful. For me this has always been a contender as my favourite PCO album, and the fact that it never ended up on vinyl was more to do with the way things were in the early 90s, and chance rather than it being deliberate. So in that sense this release is righting an old wrong. The slow development of the pieces means that you can really get lost in them and vinyl is of course the perfect way to do that.” — Arthur Jeffes

Arthur very kindly gave access to the original Union Cafe painting that currently lives in his North London home studio, created by Arthur’s mother Emily Young and now photographed by Alex Kozobolis for this special reissue edition.

Union Cafe

Buy 2LP/CD/DL

Penguin Cafe Orchestra - Nothing Really Blue

Encores 2

A Walking Embrace

MURCOF + PHILIPPE PETIT: 1st chapter
(LP + CD + Digital / Rev. Lab. - Aagoo)

Release date: September 2013

www.aagoo.com
www.revlaboratories.com

Fernando Corona
Hailing from Tijuana, on the Mexico/US border, and now a Barcelona resident, Fernando Corona rose to attention as part of Mexican collective Nortec, mostly for his work as Terrestre, but it is with another project, Murcof, that he has made an extremely strong impact. Merging micro-beats with samples of contemporary classical music, his work, often crystallised into sweeping haunting pieces, bridges the gap between Arvo Pärt or Henryk Górecki and part of the electronic scene of today. He is credited with being one of the main influences of the likes of Erik Skodvin and of many of the artists who have appeared on Miasmah in recent years.
www.murcof.com

Philippe Petit
This self-styled musical activist began his career as a journalist and DJ in his native Marseille, and went on to form Pandemonium Rdz., a label with which he explored the outer reaches of experimental rock, before turning his interest to electronic music by setting up BiP_HOp Records at the beginning of the noughties. Since 2009, his focus has shifted once again, this time on his own music, a refined blend which can incorporate elements of experimental rock rock or classical music and can take the form of complex electronic, electro-acousticism, experimentation or turntablism. Although Petit occasionally works alone, it is in the collaborative space where he truly thrives, casting his sonic world against that of the likes of Eugene S. Robinson, Lydia Lunch, Pietro Riparbelli, Bella Emerson, Cosey Fanni Tutti, Asva & loads more... 
www.philippepetit.info

The album
The meeting of such unconventional musicians was always going to result in a pretty incredible piece of work, but confronting such strong identities and getting them to work together was not a given. For the past three years, Philippe Petit and Fernando Corona have regularly played live together, undoubtedly refining their collaboration with each new performance and finding the right balance between their respective sound worlds. The result is this album which equally finds its roots in Murcof’s modern classical influences and Petit’s coarse post modernist soundscaping.
The album may barely reach the forty minute mark, but in the space of three tracks, Corona and Petit create a magnificent soundtrack which teems with haunting choral chants, lush string work and unsettling atmospherics. This album is rooted in ancient myths and legends, borrowing from Greek mythology for "The Call Of Circé", daughter of Helios and powerful enchantress, and winged divine horse "Pegasus", or from Nordic tales of giant squid-like sea monsters on "The Summoning Of The Kraken". This very much characterises the epic proportions of this album, echoing in parts the amplitude of Murcof’s "Cosmos" (Leaf, 2007), and in others Petit’s equally ambitious "Off To Titan" (Karlrecords 2010), but they temper this with much more delicate moments, for which they assemble incredibly detailed and refined atmospheric passages.
Clocking at just over twenty minutes, the opening piece "The Call Of Circé" is articulated around a series of sequences which range from stern, doom-like guitar stabs and harsh percussive noises to eerie choral laments and theatrical vocal flourishes. The haunting melodies and ambiences of the first half are slowly broken apart by the recurring thuds of metallic percussions. When these recede, the mood has become darker, grittier, more oppressive, and remains as such for much of the remainder.
"Pegasus" recalls some of the more baroque treatment Murcof experimented with on his commissioned work for Les Grandes Eaux Nocturnes de Versailles, especially through his use of the viola de gamba as a primary sound source, but this sound source becomes corrupted as the track progresses, perhaps subject to Philippe Petit’s radical decay processing, until only a few distorted strands of grating bowed strings remain.
With the last track, Corona and Petit opt for an overall softer, warmer atmosphere, but there is a lingering feeling of impending danger lurking below the surface of the whole piece. This is marked by the use of sparse percussions, magnified vinyl crackles and processed guitars and textures which, assembled in various combinations, weight heavily on the otherwise almost pastoral nature of the composition.
Philippe Petit knows how to find collaborators with whom he can go beyond his own sonic universe and make them venture into unfamiliar territories, and he is an expert in making these collaborations gel perfectly. And this is one hell of a collaboration: two artists, each with this visionary approach, working together to create a truly magnificent piece.
WRITTEN BY Bruno Lasnier / January 2013 (www.themilkfactory.co.uk/st/)

MURCOF & PHILIPPE PETIT : The call of Circé

thesisproject.bandcamp.com/album/thesi…artyn-heyne

Ben Lukas Boysen - editing, zen garden.
Martyn Heyne - guitar, organ.

Composed, mixed, and mastered by Martyn Heyne + Ben Lukas Boysen at Lichte Studio Berlin.
Additional engineering by Matthias H. Franz Hahn. Vinyl cut by Mike Grinser.

Thank You!
Gregory Euclide, Matthias H. Franz Hahn, everyone at Manners McDade, Erased Tapes Records & Publishing, Claudia Gödke, and Karolina Zenobia Heyne.

Dedicated to Frieda and Frau Bellmann.

Thesis 16

& Martyn Heyne - June

New album 'Invisible Forces', released 22 April 2022 on Ahead Of Our Time: jamesheather.lnk.to/invisibleSo

Taken from 'Modulations: EP2', released 28 May on Ahead Of Our Time: https://jamesheather.lnk.to/ep2So

Follow James Heather -
Spotify: https://found.ee/jheather-sp
Apple Music: https://found.ee/jheather-am
Instagram: https://found.ee/jheather-ig
TikTok: https://found.ee/jheather-tt
Facebook: https://found.ee/jheather-fb
Twitter: https://found.ee/jheather-tw
YouTube: https://found.ee/jheather-yt
Bandcamp: https://found.ee/jheather-bc
Soundcloud: https://found.ee/jheather-sc

#pianoday2021 #classical #classicalcrossover #ambient #alternative

Passing Soul

I like to be introduced as a "MUSICAL TRAVEL-AGENT".
ONSTAGE I'm mostly playing an Easel K (Buchla Modular Synth) and The Pipe (from SOMA Lab) which allows mouth-synthesis... I also manipulate unique vinyls with my sounds/musics, assaulting turntables to take advantage of the vinyl material to fondle released sounds, raking the needle across the record's grooves, rubbing their stylus on paper, cardboard, metal to process unusual noises and textures. I have a physical relation to my recordings and envision my live sets like performances. 
Gesture is also a very important part of my compositional process... While composing I am also relying on the use of real instruments such as Cymbalom, Pianos, Guitar and Percs that I play like a kid discovering a new toy, improvising and attaching great importance to gesture and stressing dynamics. My moves aren’t consensual, not cozying up potential listeners. A Punky approach even if throughout the past years I have been following courses of Composition + Electroacoustic Music at the Conservatory, specializing in Modular Synthesis. 
Pushing further my research in bringing together the Human and its Machine into a tapestry of sound which creates a deep sound assemblage of exotic Musiques Concrètes which guarantees to grow on you with repeated listens, slowly revealing its detailed richness…

MURCOF & PHILIPPE PETIT : The call of Circé

philippepetit

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