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Coma Boy

iTunes: geni.us/ApplescalFor
Bandcamp: atomnation.bandcamp.com/album/for

Matter

Applescal - Matter

Fun With by Cam'ron & Julez's "Hey Ma" by @justguitar31 @dialektbeats & @mreguest

HEY DUSTY MA

Legend of the Iron Dumpling

GO[AWAY (ldsr 205/2)

second collab with the very talented PAFKÜT 🫡

Bahia (Prod. by PAFKÜT)

Planet Asia feat. Talib Kweli - Don't Let Up/ LDSR 212 / Flossy remix

Conway the Machine "Diego Maradona" / Chill house remix

Buy Album ● https://barnabycarter.lnk.to/wisb
More information: http://projectmooncircle.com/releases/barnaby-carter-while-it-still-blooms

While It Still Blooms

BUY COLORED 2LP/DIGI

Barnaby Carter - They'll Come With Joy (While It Still Blooms - Project: Mooncircle, 2016)

Buy album: https://LateNightTales.lnk.to/aloudersilence
"Subtly stunning jazz-soul" The 405 https://www.thefourohfive.com/music/article/leifur-james-presents-a-subtly-stunning-jazz-soul-ode-to-his-past-in-mumma-don-t-tell-405-premiere-153

Leifur James will release his debut album 'A Louder Silence' through Late Night Tales’ artist label Night Time Stories. The album is both spacious and thought-provoking, energetic yet restrained, brimming with nuanced electronic instrumentals, dubby synths, and jazz breaks — creating an array of rich textures, complemented occasionally by James’ own soulful vocals. 

Tracklisting:
01. Alpine 
02. Time 
03. Suns Of Gold 
04. Argonaut 
05. Mumma Don’t Tell 
06. Uncle Blue 
07. Night And Day 
08. Salaninam 
09. Red Sea 
10. Osho

https://www.facebook.com/leifurjames 
https://twitter.com/leifurjames 
https://soundcloud.com/leifurjames
http://www.nighttimestories.co.uk 
http://www.latenighttales.co.uk

Buy album

Leifur James - Mumma Don't Tell

Buy / Stream: https://KidKoala.lnk.to/io
Catch Kid Koala on tour: http://kidkoala.com/upcoming-events/

Kid Koala’s Music To Draw To: Io is the second volume in the legendary scratch DJ’s transportive ambient-vocal collaboration series. Inspired by music that allows space for the listener’s own ideas, the Music To Draw To series is an unfolding universe of wintry soundscapes and enchanting vocal journeys. Io is a constellation of electronic meditations that glint with the otherworldly blues of singer Trixie Whitley on six of its eighteen songs. Heartrending poetry once again written by Kid Koala channel the turbulence of the modern global psyche using the Greek mythology of Io, an unwilling mortal lover of the god Zeus, as its compass. Transcendently personified by the force of Trixie Whitley, Io is a vivid universe of brilliant characters and inimitable voices. Written and performed entirely by Kid Koala a.k.a. Eric San on an array of synthesizers, including the trove of rare instruments at Calgary’s National Music Centre, Music To Draw To: Io reveals layer-by-layer what Whitley describes as “the bottomless depth of Kid Koala as a thinker, creator, and artist, with the incredible ability to invent new artistic dimensions, and fill them with uncanny characters.”

Music To Draw To: Io

BUY 2LP Vinyl

Circle of Clouds

Editors - Cold (UNKLE Remix)

Sometimes it‘s just not easy to remain calm, especially when the past comes back to haunt you. It might just be the hint of a scent, just a split second of that song, a tiny glimpse down that road - what should have been a small flame, now such a fire. Monumental Men‘s latest grapples with the emotional, a bittersweet immersion into the very core of what is both killing you and gives you reason to live. Cue the choir, the laid-back bass, the vibrant strings and you‘ve got yourself a hopeful little tune, despite it all.

www.facebook.com/monumentalmen
www.instagram.com/monumentalmen
www.monumentalmen.bandcamp.com

For booking, general information, please contact:
d.oehen@radicalis.ch

Small Flame

I remember the first time I read W.E.B. DuBois eclectic masterpiece The Souls of Black Folk. The way in which this Weberian scholar flowed from personal account to prose to sociological analysis to music and even political intervention has had a lasting impact on my own work as a cultural anthropologist. It made me understand that as scholars we must use different means in order to give expression to the totality of the lived experience: There is only so much in an academic text.

The experience of alienation has always been at the heart of my scholarly and artistic practice. I have used academic writing, lecturing, theatre performance and electronic improvisation to understand and represent it as a theoretical concept, postcolonial condition and lived experience. I believe, some issues need to be told like a story, some analyzed in most abstract terms and others need to be sung like a gospel. The medium changes the message.

In this sense, I guess, I’m a singing cultural anthropologist.

For some time now I have been engaged in the use of dystopian themes and sounds to paint a sonic picture of structural racism and whiteness of our present. But recently I have grown weary of this Ballardian idea of Future Now and the resulting phantasmagorian aesthetics myself and others have been invested in. The widespread availability of Digital Audio Workstations, sequencers, loopers and delay pedals has lead us into a futuristic cul de sac best described by Mark Fisher as the very absence of future.

Likewise, I am most skeptical of the “naturalist” countermovement, the return of folk. Especially in Germany, I am convinced there is no such thing as an innocent or progressive folk musical expression as it is always connected to the idea of the homeland (“Heimat”) which in turn produces the colony. It seems to me, the current zeitgeist is stuck between a “museum of a dystopian future” and a “museum of an idealized past”, but I wanted to sing about the present.

So, I involuntarily returned to pop music in its two-folded meaning of something popular and addressing not an essentialist notion of “Volk” or its woke cousin “communities”, but society as a whole.

I entered the studio just with a few lo-fi sounding melodies and rhythms from my circuit bent CASIO synthesizer. I had no clue what the finished product would sound like. But as soon as Markus started drumming, in a way strangely reminding me of CAN’s Ethnographic Forgery Series, my uptight sounds were suddenly embedded within a warmer global sound spectrum. The alien at home and abroad and the strange overlapped: We were seeing one and the same sound differently but were gently held together by Tobias’ producing.

Making music is about building coalitions. It’s about suggesting an articulation of styles, sounds and people, that hasn’t materialized, yet, but may help us in the current crisis: I wanted Amon Düül II to send their drug induced archangel thunderbird to rescue the refugees, that had tried to escape the police by climbing up a tree in Munich in 2016. I wanted Sun Ra to taunt far-right protesters in Chemnitz in 2018. And I wanted to mourn the loss of a former kebab shop cum discotheque that served as proof that there is such a thing as a minoritarian universalism.

SCHLAND IS THE PLACE FOR ME is a pop album featuring songs of alienation, not only as a tragic experience, but as a pop-cultural promise. Maybe Bill Callahan sung it best, “I am Star Wars today, I am no longer English grey”. I want those who suffer from alienation to stand in alliance with those who seek alienation, and vice-versa. A coalition, that tolerates the possibility that we are moved by the same groove for contrary reasons.

Schland Is The Place For Me

Fehler Kuti: Mayday Mayday

Lemon Jelly - Soft

follow the mixes on spotify:
https://open.spotify.com/playlist/6cnaMZa3ACM4lakHE5EIV2?si=81WoTZybTvGN2bJGEENo1w

live from pijamaland (vol. 12)

Berlin based label and creative collective operating in the left-field sphere of electronic music since 2002.

Barnaby Carter - They'll Come With Joy (While It Still Blooms - Project: Mooncircle, 2016)

PROJECT MOONCIRCLE

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