Oliver Coates cover of Bryce Hackford's Another Fantasy. all played on Cello

Oliver Coates - Another Fantasy (Bryce Hackford)

Stereo excerpt from a continuously looping 10-channel (decaphonic) ambient audio installation for the Norwegian Maritime Museum in Oslo.

Outpost (Norwegian Maritime Museum Commission)

Emotion (slowed)

🎧 Insonamia x After Dark -
This is an unofficial blend between After Dark by Mr.Kitty and a viral atmospheric sound — reshaped into something new and personal. 

Insonamia x After Dark – [Darkwave Edit]

fight yourself

Greg Fox - By Virtue Of Emptiness

Learn more at RVNG: smarturl.it/rvngnl38-rvng
Add to your collection at Bandcamp: smarturl.it/rvngnl38-bcamp
Download + stream everywhere else here: smarturl.it/rvngnl38-digi

©2017 RVNG Intl. / igetrvng.com

The Gradual Progression (RVNGNL38 - 320 Promo)

Greg Fox - By Virtue of Emptiness

Whatever It Takes

Have you ever taken care of someone for years to the point where you become a vessel, an enabler for this person? [You] feels a million light years away, a glimmering spot in the Cosmos. But then one day your vessel self gets a break and travels in light years through the sharpest black and reunites with You after all those years. You were just hanging there, forgotten, and you realize you've missed yourself more than you've ever missed anyone before. 

But after you've exploded and levitated all over the carpet it doesn't take long, a couple of days perhaps, to go missing this other person you've been necessarily enabling and loving. And perhaps loosing yourself so completely was worth it just for that comeback.

Performed, written and produced by Pictorial Candi.
Mixed by Michał Kupicz.
Photo by Jason Gold.
Released on April 29, 2019 from Berlin to the world via Mansions and Millions and Nicey Music.
Single from the LP record "The secret salts" out June 14, 2019.

SOFTEST COSMOS

R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her
solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop
minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated
on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On
manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch. The songs are full of
air and light; infectious, melodic and off-the-cuff.
Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth
belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language –
divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel
guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes,
realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the
undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like
the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps
and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of
perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of
repetitive listening.
Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist
mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist
becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at
the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces
Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless,
conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go
outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be
honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting.
The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and
grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a
loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble
provides aural snakes for the listener’s ear to follow.

R. Elizabeth - SPIRITUAL TO SYMPHONY (from Every And All We Voyage On)

Carl Oesterhelt "Eleven Pieces for Synthesizer"
LP & Digital © 2019 Umor Rex Records
www.umor-rex.org

Umor Rex presents Eleven Pieces for Synthesizer, a collection of synth instrumentals by German composer Carl Oesterhelt. Oesterhelt has been recording a mixture of straddling kosmische and classical traditions for years on his own reel tape machine, overdubbing stacks of analogue gear to create a compelling body of work that brings fresh emotional depth and rhythmic experimentation to the syntax of the modern synthesizer.
 
Born in Munich in 1968, Carl Oesterhelt has worked in a variety of fields throughout a long and impressive career. His discography includes tenures with Neue Deutsche Welle legends FSK, intellectual disco outfit Merricks, and German legends The Notwist. His solo work has travelled even further and wider, taking in contemporary classical and chamber music, music for exhibitions and radio plays, not to mention notable collaborations with saxophonist Johannes Enders and legendary founding member of Faust, Hans Joachim Irmler. 
 
Oesterhelt augments his own analogue arsenal with synthesizers borrowed from musician friends, resulting in almost fifteen different synthesizers –some in fruitful states of disrepair– which feature on the album. Opener “La chapelle de Francis Lai” pays tribute to the French film composer with a synthesized church organ procession, disintegrating kraut-funk-noir which emerges on “Poro Secret Society”. Then, eerie sound effects mash with minimal techno rhythms on “Makonde Pattern”, and –most surprisingly– Oesterhelt turns his keys into a sub-Saharan drum ceremony on “Trinidad Pattern”. The sheer range of Eleven Pieces for Synthesizer is an impressive achievement unto itself. Yet it is Oesterhelt’s instincts as a composer which make these (largely improvised) recordings so compelling. Tensions build and emotions stir throughout each piece with a proficiency perfected through his work for the stage.
 
Musically associates, and directly connected to a heritage of German electronics, Eleven Pieces for Synthesizer touches upon similar ground to the likes of Musik von Harmonia in its pulsations, Klaus Schulze’s sonically adventurous Cyborg, and Tangerine Dream at their earliest and most primitive. The hypnotic ritualism of early African field recordings, or the spiritual regality of European organ music also convey key reference points in the formulation of this collection. Oesterhelt’s compositions here have taken the musically primitive and the emotionally raw, and woven them into a rich synthetic soundworld all of his own.

Eleven Pieces for Synthesizer

Buy LP & DL

Carl Oesterhelt — Simple Theme

'Dead Guitars' is taken from Seefeel's self titled album, their first for 14 years.
The album is releasing Jan31/Feb 1, and coincides with a special headline show at London’s King’s Place on the same day.
The band have also just announced a run of UK and European dates in March.
"(Seefeel) underpin their dream-glossed, loop-heavy soundscapes and tunes with a heavy powerhouse of a rhythm section. The show was punishingly loud; played with a professional politeness that skirted-over any ‘it’s great to be back’-bullshit.” - Loud + Quiet, live review
Pre-order the album here : http://bit.ly/9novaN
Seefeel live dates
31/01/2011London @ King’s Place – http://bit.ly/geBDIl
18/03/2011Manchester @Islington Mill - www.ticketline.co.uk
19/03/2011Dublin @ Button Factory - www.tickets.ie
21/03/2011Glasgow @ The Arts School - http://bit.ly/ge9WWg
22/03/2011Birmingham @ Hare &amp; Hounds - http://www.theticketsellers.co.uk
24/03/2011Paris @ Point Ephemere - www.fnac.com
25/03/2011Brussels @ AB Club - www.abconcerts.be
26/03/2011Amsterdam @ Paradiso - www.ticketmaster.nl


SOFTEST COSMOS

Pictorial Candi

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