disco elysium vibes

Waldorf Blofeld for pads
NI Noire for piano

Laura Palmer theme (composer Angelo Badalamenti)

crack baby - mitski {slowed}

british sea power - red rock riviera (slowed)

Sea Power — Want To Be Free (Slowed)

For those lazy Sundays in...

Sunday Session [Cross The Ocean Of Tears]

01 Colourbox - Sleepwalker
02 COIO3 - Song With No Words
03 JIM - Phoenix
04 Khruangbin - Right [Bowie Cover]
05 Monophonics - Tunnel Vision
06 Kingo Hamada - Dream Is Alive
07 Tornado Wallace - Voices
08 Yasuaki Shimizu - Umi No Ue Kara
09 The Egg - Lost At Sea
10 D.K. - Journey To The Sun
11 D Pulse - Velocity Of Love
12 Genesis - Hold On My Heart
13 Bat For Lashes - Laura
14 Prince - Money Dont Matter 2 Night
15 Shintaro Sakamoto - You Just Decided
16 Arctic Monkeys - There'd Better Be A Mirrorball
17 John Martyn - You Know
18 Mr. Twin Sister - Rude Boy
19 Better Person - Hearts On Fire
20 The Sound - Counting The Days
21 Iggy Pop - Shades
22 Aslan - Where's The Sun
23 Richard Hawley - The Ocean

Sunday Soundtrack [Cross The Ocean Of Tears]

Konx-om-Pax - Video Club

Child Psychology

Low - Last Night I Dreamt That Somebody Loved Me

Beach House - On The Sea

Beach House - Black Car (Sonic Boom Remix)

Radiohead - Daydreaming

Perfume Genius - Die 4 You Acoustic Cover

British Sea Power stopped by the 88.1 KDHX studio in St. Louis on March 29, 2008 for a live performance. Discover more great media at http://kdhx.org

British Sea Power "Smallest Church in Sussex" Live at KDHX 3/29/08

Disco Is Dead Preview

I've seen the pale,
Another step on my way to hell;
We were meant to be,
But you didn't take to me well.

Primordial blackness, I can't hear or see,
Except my lizard brain talking to me;
Keeping me numb before the carriage arrives,
My limbic system bringing me back to life.

It's dawn in Revachol, alone again;
I tried to forget it all, but I kept the pain.

Long ago I have felt the same, and now I am back again;
I haven't seen this room before.
Can't remember my own name, or even from where I came;
No idea what lies beyond this door.

And why did I, Why did I, Why did I have to run into you?
Enchanting mistress.
Why did you, Why did you, Why did you have to be so cruel?
Made me think I deserved this.

It's dawn in Revachol, alone again;
I tried to forget it all, but I kept the pain.

The voices in my head,
Telling me Disco is dead.
Alone and hungover,
Tequila sunset .
2x

It's dawn in Revachol, alone again;
I tried to forget it all, but I kept the pain.
It's dawn in Revachol, alone again;
I tried to forget it all, but I kept the pain.

Revachol Dawn

Revachol Dawn [Karaoke]

I Am Not Okay With This (Music from the Netflix Original Series)

Eartheater - Phoenix: Flames Are Dew Upon My Skin
Format: LP / DL
Cat.No. PAN 112
Release Date: 2 October 2020
Purchase/stream: pan.lnk.to/Phoenix

Composed, produced, and arranged by Eartheater alone, Phoenix: Flames Are Dew Upon My Skin draws a path back to the primordial lava lake from which she first emerged, as it also testifies to the reincarnating resurrections the project has undergone over its first full decade of existence. While the album renews her focus on guitar performance and legible structure, Eartheater balances the unabashed prettiness of acoustic harmonic songs with the dissonant gestural embroidery of oblique instrumentals. Having fallen back in love with the idioms that first captivated her, she worked to crack open the techniques that had fossilized inside of her, while still seeking to apply the electro-alchemical knowledge she picked up along her journey. The result of a laborious revival in fire, Phoenix recontextualizes Eartheater’s combinatorial approach to production within her most confident abstractions, adjacent to some of her most direct songs to date.

Eartheater composed and workshopped most of Phoenix over a ten-week artist residency (FUGA) in Zaragoza, Spain, housed in a sprawling, cubic glass facility that looked out over wildflower-flecked mountains. Following an intensive period of recording and touring, the residency provided her with an unprecedented period of solitude in the small Spanish town. Her newfound sense of isolation ultimately became liberating, leading her to sidestep the crutches and steady grids inherent to electronic music, and to conceive pieces rooted in her guitar and her desire to perform with other players live. Eartheater’s voice glows brighter than ever at the center of Phoenix’s arrangements — her familiar operatic highs are grounded by newly expanded velvety lows, leaping lucidly up and down octaves. Her intricate guitar work flits across baroque fingerpicked passages and latches into cyclical figures that meet her voice in lush harmonic progressions. From her own guitar parts, to the orchestral string arrangements she wrote for the Spanish conservatory group Ensemble de Camara, to the harp and violin lines performed by her close friends and collaborators Marilu Donovan and Adam Markiewicz of LEYA, Eartheater’s applications of acoustic instruments bring an extraordinary emotional emphasis to her compositions. Phoenix prepares for a future where electronic sound — or even electricity itself — isn’t guaranteed, but where her music could still come to life with a group of hands dexterously winding across instruments against the light of the fire.

Eartheater drew inspiration for Phoenix from geological imagery, whose turbulence and potential for genesis mirror the trajectory of her own life and relationships. The album’s instrumental pieces directly reference these moments of upheaval, colliding audio of volcano and lightning storms with resplendent string and vocal arrangements. “Volcano” looks out over the album from its peak at the center, its tectonic plates colliding in towering melodies and layers of vocal harmonies, as piano accents crest and cascade down the mountainside. When Eartheater sings, “I’m still building mountains underground,” she is trying to reconcile the pinnacles of her ambition with the comforts of a simple existence buried beneath the surface. “Diamond in the Bedrock” finds her admiring the gemstone forming under intense pressure inside her, but rejecting the romantic promise that the diamond signifies, choosing instead to escape a relationship that has come to stifle her.

Read full press release: https://bit.ly/2XtJGvQ

Phoenix: Flames Are Dew Upon My Skin

Eartheater - How To Fight (PAN 112)

From Lunch Money Life's 'Immersion Chamber' out October 30th in N. America on Fire Talk

Buy: https://ffm.to/lunchmoneylife

Lunch Money Life make apocalypse music, impossible to categorise, rich in texture, immersing the listener in a world of disgust and yearning - 'Immersion Chamber' is the perfect embodiment of that. Full of foreboding energy, restless beats and agitated noise: it's mardy electronics married with tense jazz-tinged and combative drumming. Or what The Quietus calls ““dizzying drum machines, wistful guitars, and brass sounds that punch through the miasma”. Each track filtered through the outboard analogue ceremonies of co-producer & mixing engineer Danalogue (The Comet Is Coming). Immersion Chamber will see a North American release October 30th on Fire Talk.

Immersion Chamber

Lunch Money Life - Superego

cocteau twins - sea, swallow me [ slowed + reverb ]

FR : Salut tout le monde! Voilà notre version de Corbeau Blanc de Julien Doré! N'hésitez pas à aimer et partager!

EN : Hi everybody! Here is our own version of "Corbeau Blanc" by Julien Doré! Make sure to like and share it!

Facebook page : facebook.com/outoftimeofficiel
Youtube channel : youtube.com/outoftimeofficiel

disco elysium vibes

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