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“Back in America” is an introspective song about growing up in a country where we are constantly told that we are the best. That life is perfect here; that we understand everything better than everyone else. Only later to discover, after traveling and discovering the rest of the world, that it was all an illusion. There are still a lot of things that we are far from being the best at. American society is full of contradictions between our Puritanism and the corruption, violence, and poverty that reigns. It also talks about feeling like a stranger in your own country and in your own culture. “Back in America” is a long walk that examines the cracks and taboos which blight western society in general: racism, poverty, religion, and violence done in the name of Capitalism and God"

THE BUTTSHAKERS - Back In America

Sono Rhizmo' - E isso ei

See also Official video: http://www.youtube.com/watch?v=RCovud-uxk4

the Big Nose Attack - A bite to eat (American Burger II OST)

Recorded and mixed by Mike Tsobanoglou @ Fab Liquid studios,Athens, July 2013.Produced by Mike Tsobanoglou and the Big Nose Attack.

Music & Lyrics by the Big Nose Attack.

The Big Nose Attack:
Boogieman: guitar and vocals
Little Tonnie: drums,percussion,organ

C & P WTF? “What The Fuzz?” Records 2013

the Big Nose Attack - A Bite To Eat (American Burger II OST)

From the new album "A Fender Rhodes Solo" by Jozef Dumoulin, to be released on BEE JAZZ, February 27th, 2014.

Jozef Dumoulin: Fender Rhodes

More info: www.beejazz.com/blog/artiste/jozef-dumoulin/

Jozef Dumoulin is on Facebook: on.fb.me/1eSmFrN

Label Contact : BEEJAZZ
contact@beejazz.com

Jozef Dumoulin - "A Fender Rhodes Solo" - The Entry Point

where do i begin?

https://www.facebook.com/morningsmusic
https://www.facebook.com/morningsmusic
https://www.facebook.com/morningsmusic

http://mornings.bandcamp.com/
http://mornings.bandcamp.com/
http://mornings.bandcamp.com/

Bandcamp

Unkind

Download

Prenatal Hunters (Floex Revision)

You noticed that void inside everything, didn´t you?

Void Notice EP : http://vonwegen.bandcamp.com/album/void-notice-ep

buy on bandcamp

Void Notice

from 'Nomad Frequencies' [CD|2xLP|DIGITAL]
Denovali Records · den237
available in September on all formats at [http://denovali.com/johnlemke]

An ardent moulder of sound, John Lemke began carving out a very unique music blend on his debut album 'People Do' (2013) and its follow up EP 'Walizka' (2014). Informed by his work as a sound designer & composer for documentary films and his natural inclination towards fusing rhythm with rich textures and emotive melodies, he set out on a musical path that had been long in the making and is ever evolving.

The quest for unusual, inspiring sound sources has always been at the heart of John's process, however the genesis of his second album 'Nomad Frequencies' was rooted in much more inadvertent circumstances. In the summer of 2014, forced to indefinitely evacuate his Glasgow flat and studio due to structural damage from one hour to the next, with nothing more than a laptop and a bag of clothes, John embarked on a six month odyssey of soul searching, couch surfing and spending an extended period of time in his old hometown of Berlin for the first time in years - it was to be an odyssey that would help ferment and distill the ideas of his second album on which work had just begun. 

A year of particular global turmoil and upheaval, combined with John's personal, albeit very minor, 'displacement', caused a lot of questioning, frustration and anger, which somehow found its way onto the new material: a more confrontational, at times aggressive sound, paired on the other hand with a yearning for harmony, balance and space. Other influences came less from the world of music, but rather in visual form, through the densely textural art of Anselm Kiefer and the political, yet poetic musings of film maker Adam Curtis.

Intent on refining his sound toward a more minimal, bolder style, John set out to limit his sonic palate to a handful of carefully chosen elements. At the centre of this new direction remains the muted piano already introduced on his debut, but in a much more purified and raw form. This organic base is adorned by the warm fuzzing and wavering of analogue synthesisers, tape echoes, meditative tuning forks, field recordings from John's 'exile' period and percussion based on his rigid approach to sampling, which started developing on 'Walizka'. The guiding principle of his orthodox style of recording and sampling is to only use home-made sounds by utilising his own field recordings, applying contact microphones or hydrophones to objects and instruments, running them through different kinds of speakers and re-recording the sounds to arrive at a 'lived in' quality, often misunderstood as plainly 'lo-fi'. Touches of viola and woodwinds parts (Kim Moore of WOLF and Andrew Baker respectively) provide melody fragments and subtle details throughout the journey.

With John's healthy disregard for genre boundaries, the array of influences on 'Nomad Frequencies' is vast, but never over-powering. From the meditative tuning fork that starts proceedings on 'Of Elsewhere', the dub echoes to the hints of minimalism, free jazz explosions to the Lynchian atmospherics, all elements serve nothing more than the album's narrative journey between friction and harmony, best appreciated in its entirety. A rhythmic backbone collides with rich ambience and melody, often infectious and jarring at the same time, forging a soulful whole which most likely only reveals its true self after multiple spins.

Nomad Frequencies

John Lemke - The Unwinding

Lost - Noir Désir ( Cover)

Buy on iTunes

Shores

Driven by a vicious and visceral soul, The Buttshakers are known for their fierce and fiery music: turntables steam from the heat of their records, dance floors buckle under the blistering pressure of their infectious grooves, a group with a burning Midas’ touch. 
Yet after nearly a decade of touring and recording, it was with a different musical vision that they approached Sweet Rewards, their first collaboration with Underdog Records. 
Accustomed to the raw, primitive sounds of 60s garage rock and the crude sexuality of pre-Motown soul music, The Buttshakers have created a reputation as a “must see” live band, perfectly aligning loud rock riffs and lustful desires. A sound they could have continued to dig into again and again. Instead, they decided to take another route. A creative shift, a return to a style of soul music that no longer has to rely on pure energy alone; a sound that concentrates on the quality of writing, composition and interpretation rather than pure virility. 
Exceeding the limitations imposed by their tight yet powerful six person lineup (vocals-guitar-drums-bass-trombone-saxophone baritone), they opened up this studio session to fully accommodate their ideas and concretize their musical ambitions, emphasizing the subtle structures of the overall production: a larger horn section creates a richer, scintillating sonority; a touch of slide-guitar opens their creative universe to the open spaces of the far West; the organ vacillates between psychedelic drapery and heartfelt gospel tones; all of this supported by the wicked groove of a percussionist driving the beat on. 
Their sultry and soulful frontwoman, Ciara Thompson, is here for the first time supported by backing vocalist. An occasion for her to indulge in a few call-and-response chorales, a reverence to a gospel background instilled in her from her native St Louis (Missouri), a still vibrant heritage from the city that cradled jazz, blues, country and folk music. This new liberty gives her room to explore various emotional venues, exposing a voice capable of fitting perfecting within the intimacy of a stripped down acoustic ballad as well as a nervous funky break. 
Ideal for a sound that never lets down yet remains intuitive to the gradual rise of emotion each song demands. With each new listening, Sweet Rewards reveals something new to the listener: another dimension, a hidden layer. An album and a group that proves that they have more than one trick up their sleeves.

Sweet Rewards

THE BUTTSHAKERS - IN THE CITY

...preview...

¡¡¡...unos beats y + syntes...¡¡¡
      

Brainwash - Tom Fire feat Matthew Mc Anuff ( Le-moon edit )

Johnny Harrys - Stepping Stones (Sans Groove Retouch)

Quero Ver Você Dançar

Quero Ver Você Dançar (Afterclapp Remix)

Fait pendant le confinement à paris 2020 #moranne

PARIS ETAIT UNE FETE EN 2020

PARIS ETAIT UNE FETE EN 2020 • Allstired

Hammond Classics - Pour Eve

The Stratos Ensemble is a progressive jazz band, the brainchild of producer Dean De Benedictis. The Fateless Flows Collective was an organization that Dean once ran, but now is simply the brand canopy that represents many of his extended projects, such as collaborations with original FF members and related material. Dean has decided to merge both his Stratos Ensemble content and his general Fateless Flows content on this particular SC page. 

The company name was originally the name of an electronic music collective Dean ran from 2003-05. From 2007-11 there was a plan to relaunch Fateless Flows as a record label, but it fell through. What remains are video channels on Youtube and Vimeo, and this Soundcloud page. Dean keeps his art and content coming, so he still uses the FF brand to release anything he works on that he also maintains rights control of, be it solo efforts or collaborative. Dean also has a separate SC page for his solo material.

Fateless Flows main image by Michael Jantzen and Dean De Benedictis. 

Dean De Benedictis' website can be found here:
http://deandebenedictis.com/

(Michael Jantzen's website:
http://www.michaeljantzen.com/Welcome.html)

This is future music created by a journey through the past, and here it's disassembled and rebuilt, one groove at a time.
(Allmusic.com)

Shores

Radio Citizen

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