Relax

Take Away 47

Musik zur Zeit 10/2019

Septembre 2019

Related tracks

A quick Jam session with Spectral Synthesizer and a 808 emulation.


Dewaka - Mental Mantra

New Year's eve recording in a field in Japan. We can hear temple bells, traffic, trains, and other sounds. At midnight nearby fireworks and a neighbor's firecracker announce the new year. Recorded with an Audio-Technica BP4025 stereo microphone and a Tascam DR-70D recorder mounted on a tripod.

New Year 2018 Temple Bells and Fireworks

Meltwave

Witchtape #34 | Guest Wizz : Vincent Gericke

(Story continued from Witchtape #35)
On a full moon day, the little witch attended the very first coven of her whole life, in the company of two elder witches.  It had been such an intense day filled with mystic ceremonies, that she didn’t notice the sun going down and the light slowly fading.  At that moment, the eldest witch showed the way to a nearby small hill.  On the top of the mound, they found 3 small rocks with a worn-out flat top surface.  The 3 women took a seat on the rocks and the young girl sensed that these rock-chairs were already being used for centuries.  They watched in silence as the sun turned red and slowly disappeared behind the horizon.  At that point the old witch pointed into the other direction, and they all watched the breathtaking spectacle of the full moon rising gloriously above the south-eastern sky, while a couple of little bats were circling swiftly above their heads.  The young girl had never seen such a beautiful moon, brighter and more yellow than she had ever seen before while the planet mars was shining brightly in the southern sky with an unusually intense red hue.  After gazing at the sky for a few minutes and being completely absorbed by this celestial spectacle, the novice looked at the 2 other witches and to her surprise they were looking at her instead of observing the moon… and they smiled tenderly.  The youngest witch became a bit shy when she noticed all this attention, while at the same time she sensed that the elder witches were thinking back at their own first night at this very spot.  After this brief intermezzo, the 3 women resumed their observation of the moon.  For a few seconds, the full moon disappeared behind a small cloud.  And just at that moment, a small glowing ball appeared, just a few centimeters across and floating in the air.  If the witches would have stretched out their arms, they would have been able to touch it.  But just at that moment, the moon appeared again in the sky and the little ball disappeared into thin air.  A few minutes later another cloud obscured the moon and the little ball appeared again, bigger than the first time and looking like an exact copy of the moon, with the same soft yellow color.  While the young witch looked at it with big eyes, the old witch stretched out her arm, with the tip of her fingers just a few inches away from the glowing little moon.  The little witch did the same and held her open hands around the glowing object without touching it.  The girl had never felt anything like that before, it was a surprisingly pleasant tingling feeling while her hands captured the subtle energy of the floating object.  The girl felt how the energy gradually became stronger and at one point the symbols on the palms of her hands (which the other witches had painted on her body earlier that day) started to glow in the same soft yellow hue as the moon itself.  And the energy kept on spreading as the symbols on her arms and shoulders started to glow too, and finally all the mystic symbols all over her body started to glow, even the ones on her feet.  Strangely, not all symbols lighted up in yellow as some of them had a faint red glow, just like the planet mars which accompanied the moon on that night…
(to be continued in witchtape #40)

Connect with the artist : 
https://soundcloud.com/vincentgericke
https://www.facebook.com/vincent.gericke
https://vincentgericke.bandcamp.com/

Photo credits :  Anton27 @shutterstock

Witchtape #34 | Guest Wizz : Vincent Gericke

THANK YOU FOR HELPING ME REACH 1,000 FOLLOWERS ON SOUNDCLOUD!!! 
TO CELEBRATE, I'M DROPPING THIS FREE TRACK WHICH YOU ALL CHOSE VIA A POLL ON TWITTER
AND
I'M MAKING MY WHOLE DISCOGRAPHY FREE ON BANDCAMP FOR THE NEXT 24 HOURS
I HONESTLY WAS NEVER SURE IF I'D EVEN MAKE IT THIS FAR
THANK YOU SO SO SO MUCH FOR ALL THE LOVE YOU HAVE ALL GIVEN ME OVER THE YEARS
I AM ETERNALLY GRATEFUL
THANK YOU AGAIN

Fiber-Optic Fur & 3D-Printed Bones

frog ynnoB Tutorial 6 [FREE DL, TY FOR 1K FOLLOWS!!!!𐄙ᵒ҉☆✨♡⚛]

Matana Roberts • Coin Coin Chapter Four: Memphis
Release date: 18 October 2019
CST145

180gramLP / CD / DL
Constellation

Matana Roberts • "Raise Yourself Up" / "Backbone Once More" / "How Bright They Shine"

Après "Tout est temporaire" j'avais envie de parler de quelqu'un d'autre que de moi, alors j'ai imaginé une petite histoire qui se passe dans un train

Paroles :

Tout le stress est reparti 
Suspendus dans l'horizon, les tableaux du plat pays 
Impriment sur la rétine des voiles colorés 

Endormi dans le train, les paysages défilent 
Derrière les paupières closes, le voyage est agréable 

Il ne peut pas s'empêcher de réfléchir 
Les souvenirs prennent le dessus 
Il laisse s'échapper un soupir 
Ça y est, son trajet est foutu 

Tout le monde descend, lui est toujours assis 
Tout le monde descend, tout le monde s'en branle de lui 
Il a perdu depuis longtemps le compte de ses allées et venues 
Le train repart une nouvelle fois : il est toujours aussi perdu

Allées venues

Inspired by returning to my homelands and remembering the childhood spent in a brutalistic neighbourhood, this soundscape was built using a single instrument - circuit bent toy piano.

Winds Of The Past

All Mirrors

Lark

'Crossing Into New Life' is the third single from The Newcomer's forthcoming album 'Inner Being' due out 8/30 on Astro Nautico.

Inner Being

The Newcomer - Crossing Into New Life

About Repulsion

STREAM ON SPOTIFY:
https://open.spotify.com/album/5Wr6oaMhFXVK4YJKA86lVC

LYRICS:
First off can I say? 
I really love the way you love me 
And with every single day 
I really love the woman you are 

And that's not all, and that's not all 
You're my best friend, you deserve the world 

I know that it's taken a while 
So here it is, your song 

I'd like to tell you, I love you 
Every day, in a song, so here you are 
I'd like to tell you, I love you 
Every day, in a song, so here you are 

And that's not all, and that's not all 
You're my best friend, you deserve the world 

I'd like to tell you, I love you 
Every day, in a song, so here you are 
I'd like to show you, I mean that 
Every day for the rest of our lives 

And when we grow old, we can put this song on 
And this will be, your first song

Take

To Tell You: I Love You (Single)

Buy "Take"

To Tell You: I Love You

https://open.spotify.com/album/6yqm1igQRa4RBtLjypIeAx

Aware

Les Filles de Illighadad

Tende

Preorder: https://planetmu.bleepstores.com/release/139691-meemo-comma-sleepmoss, released 25th October.

“Sleepmoss is a romantic eulogy to autumn and winter. A time for peaceful inner reflection, amidst the backdrop of British woodlands, dramatic skies and turbulent storms. Finding peace with mental health and being mindful of the beauty in death and endings.”

'Sleepmoss', the second album from Meemo Comma a.k.a. Brighton-based producer Lara Rix-Martin, is an adventurous, unusual and very contemporary sonic take on the impact of landscape. It’s a kind of storytelling, inspired by the shifting landscapes of her daily walks with her dog on the South Downs.

Discussing her under-the-radar debut album 'Ghost on the Stairs' with Aimee Cliff at The Fader in 2017, she noted how she is “drawn to eerie sounds in my work.” This fascination remains on 'Sleepmoss' but the context has changed from the interior and inwards gaze to a much wider, wilder viewpoint. Lara describes her new record as being “about getting lost in the sumptuous divinity of the dark months in Britain. It is in many ways the opposite reflection of 'Ghost on the Stairs' which was about internal processing of sounds, specifically human speech. The last album was almost an exorcism of issues troubling me but this album is about the glory of solitude and the richness of romance that can be found in nature.” 

‘Sleepmoss’ challenges us to rethink our perceptions of the “pastoral” and to look at nature afresh with new eyes. For not only are the landscapes around us an escape: much more lies there, it's this turbulence we need to find peace with, and Sleepmoss grapples with the physicality of the landscape in a fresh and intuitive way.

Rix-Martin notes “Musically, we have never truly embraced rugged landscapes in their full glory and I felt this when I thought about the many different composers over the centuries, their work seemed uptight and far too human in scale. For instance Vaughan Williams had unquestionably beautiful moments in The Lark Ascending, but it's too clean, too controlled. I wanted to channel a take on classical music that was hyper-real, focusing on letting the elements speak to us, not the other way around.”

A visual influence is J.M.W. Turner - “his work with changing light and storms that are raw and expressive.” and the abstract way in which Turner boldly revealed both horror and beauty (some would say “reality”) is reflected in the sonic approach throughout Sleepmoss. 

The album’s timeline starts out with summer's end, and the feeling of the air changing. Within this timeline, Rix-Martin describes the drama of her songs as visual stories. “The sounds around us are totally different depending on the season, I always assumed it was to do with the change in water vapour and heat in the air. Summer is much too high pitched and spiky.”  To pull out a couple of our favourites, the songs 'Night Rain' and 'Murmur' are “the story of predator and prey, death and life, one fortifying the other while a storm rumbles. The next morning the woods are clear birds sing in the breeze from the night’s storm.”

‘Sleepmoss’ captures not only a unique perspective on nature but like nature itself, reflects the shifting times we live in. As Rix-Martin points out, Nature is often seen as “something to be controlled, neatened, conquered.” Sleepmoss interprets and admires nature in all its glory.

Sleepmoss

Meemo Comma - Tanglewood

"Hollow" out on Morr Music 2019-09-06 
Download/ Stream: https://linktr.ee/sinfang 
Follow Sin Fang:
Facebook: https://www.facebook.com/sinfanggg
Instagram: https://www.instagram.com/sinfanggg/
Twitter: https://twitter.com/sinfanggg

06.09.2019

Stream/Download

Sin Fang - Hollow

'The Undivided Five', out now on Ninja Tune: https://awvfts.lnk.to/fiveSo

Follow A Winged Victory For The Sullen -
Spotify: https://found.ee/awvfts-sp
Apple Music: https://found.ee/awvfts-am
Instagram: https://found.ee/awvfts-ig
Facebook: https://found.ee/awvfts-fb
Twitter: https://found.ee/awvfts-tw
Youtube: https://found.ee/awvfts-yt
Bandcamp: https://found.ee/awvfts-bc
Soundcloud: https://found.ee/awvfts-sc

The Undivided Five

The Rhythm Of A Dividing Pair

MARIA W HORN, Epistasis, LP

Release date - Oct 25th 2019 
Catalogue nr. - HG1904
Format - Vinyl/digital

https://hallowground.bandcamp.com

Tracklist:
A1) Interlocked Cycles I 	(10:45)
A2) Epistasis 			(09:31)
B1) Konvektion 			(13:16)
B2) Interlocked Cycles II 	(09:46)

Credits:
All music composed, recorded and mixed by Maria W Horn
Linnea Hällqvist - violin
Knapp Brita Pettersson - violin
Maria Jonsson - viola
Natalia Goldmann - cello
Johanna Niederbacher - cello
Mats Erlandsson - electric guitar
David Granström - electric guitar
Johannes Landgren - organ 
Fredrik Lundqvist - organ

Mastering by Lawrence English
Design by Ruth Stofer

Promotion by Dense Promotion, ed@dense.de 
Distribution by Cargo Records and a-Musik
Released by Hallow Ground

///
Following the success of her 2018 solo debut album »Kontrapoetik,« the Swedish composer Maria W Horn returns with »Epistasis,« her most ambitious record to date. The title track, »Konvektion« and the two parts of »Interlocked Cycles« see the XKatedral co-founder explore radical approaches to composition that combine avantgarde methods with electronic means. While »Kontrapoetik« highlighted Horn’s strength as a conceptual and political artist, »Epistasis« is to be understood as an advanced statement by a forward-thinking composer who throughout four pieces channels her influences, ranging from black metal to minimal music, through state-of-the-art technology. 
Originally composed as an audiovisual piece for synchronised multichannel sound and lights and premiered in 2018 at the Royal College of Music in Stockholm, »Interlocked Cycles« is a series of pieces exploring a gradual increase in tempo and density using various instruments. It was written to be performed by a computer-controlled upright Disklavier piano while the electronic part was generated within the Supercollider framework using phase modulation synthesis. Navigating between acoustic and electronic sounds, the two parts of »Interlocked Cycles« create a frame for the album by respectively serving as an introduction and coda to Horn’s musical exploration of the notions of authenticity and artificiality.
The nine and a half minute long title track was composed for an eight-voice double string quartet and draws on evolving progressions in F minor that were inspired by the sound and harmonic structures of early nineties doom and black metal music. During the performance of »Epistasis,« which was commissioned by Konstmusiksystrar and premiered by Malvakvartetten at Konserthuset in Stockholm 2018, four parts are played by the string quartet and four parts are played back electronically. Using various amplification techniques, the spectral characteristics of the string instruments are enhanced and distorted and were later on complemented by feedbacking electric guitar overdubs while mixing the piece. The result are densely layered drones that are most unsettling when they are the quietest and reveal their anthemic qualities in their most forceful moments.
The structure of »Konvektion« however takes its cues from a very different field of the musical world. The composition progresses in a way that was inspired by Arvo Pärt’s »Tintinnabuli« technique, where step-by-step diatonic movement interplays with triads to form a complex harmonic function that is still rooted in tonality. Based around four-note chords articulated as dyads and performed by two organists on the same instrument, the duration of each dyad is measured by the individual breaths of the two performers while pitches are predetermined in the score of the piece. The alternating breathing cycles of the performers slowly move the piece forward at a glacial pace. Simultaneously, an electronic part composed of interference tones creating high and low frequency beating patterns gradually unfolds, making »Konvektion« an exercise in minimalism that combines the subtle gravity of Phill Niblock’s work with the visceral theatrality of Anna von Hausswolff’s organ pieces.

-

Epistasis

MARIA W HORN - Epistasis (HG1904)

Daniel Schmidt - "Abies Firma" LP & CD
http://www.recitalprogram.com/abies-firma/
http://www.recitalprogram.com/purchase/
includes CD with extra suite, and 20-page pamphlet.

R70 - Daniel Schmidt - "Fanfare and Lancaran Daniel" from Abies Firma LP

A Son

a son

pan•american 'shenandoah'

Mantra Om Namah Shivaya vocalizado continuamente em grupo.
Uma experiência profunda.

Meemo Comma - Tanglewood

Planet Mu Records