fantastic as usual, would love to better understand your patch and workflow on this... :)

fantastic. I was floating on my drive home.

mysterious web of interaction between musical and noise elements where there are hints of rules at play just out of reach

This is gorgeous. The ostinato in the melody feels like deeply buried memories are about to emerge. Fantastic <3

몽환

excerpt from a long-form guitar + tape loop improvisation.
more information at: http://dustbreeding.com/466-fog

466 / driving over bridges through fog

March of the Inanimate – Repossessed
Release Date: August 24, 2016
© 2016 Keith Richie

March of the Inanimate – Repossessed is a dark, cinematic soundscape that delves into obsession, mortality, and the supernatural. This reimagined and remastered edition of the original 2014 release expands the sonic narrative with new tracks and enhanced production—immersing the listener in a chilling audio experience.

A man, obsessed with defying death, steps into a long-abandoned home to retrieve a rumored artifact said to hold the key to immortality. But what he finds is not salvation… it is something far more sinister. As ancient forces awaken, his soul teeters on the edge of annihilation, pursued by horrors that march without mercy or sight.

This definitive edition draws inspiration from the atmospheric dread of classic horror soundtracks, particularly the works of John Carpenter and Alan Howarth. Through dark-electro pulses, suspenseful piano motifs, and immersive textures, Repossessed captures the mood of unearthed terror and psychological descent.

Now featuring three additional tracks and a fully remastered mix, March of the Inanimate – Repossessed stands as both a love letter to vintage horror scores and an original journey into the heart of sonic fear.

Critical Praise:

“Musically menacing, to say the very least. This opus incorporates haunting piano melodies and a deep intensity through its pulsing rhythms… it fits right into the gritty underworld of horror-movie-mania.”
— Jer@SBS, Sleeping Bag Studios

“Keith Richie has a way with electronic music—it rarely sounds synthetic. Here, he explores sonic storytelling beyond the confines of pop structure… an invitation to imagine films that don’t yet exist.”
— Robbie Tee, Jamsphere

Forbidden Cottage

Music inspired by the dystopian futures of Blade Runner, I Robot and all the wonderful Science Fiction of the Past and Future.

NEXUS 02 A NEW HAVEN

Amber Skys

The release date is now set for the follow-up to last year's self-titled Parallelism release, and Angular Geometry will be available on February 12th.

Pre-order your copy here: shimmeringmoodsrecords.bandcamp.com/album/a…eometry

50 copies available, handmade covers, hand numbered
(brown kraft hand cutted paper is used with real photo's)

A soft whisper beckons you to the horizon. Dusk or dawn, a faint rhythm gently takes your hand and guides you into a fluid realm of pulsating sonic drifts. "Angular Geometry" digs deep to sooth and invigorate the listener with engaging waves and invigorating microbeats into a lush natural soundscape.

Track list:
1. Lost	
2. Warehouse At Dusk	
3. Naturally	
4. Interference Pattern	
5. Piezo	
6. Cerulean		
7. Eclipse	
8 .00769 Picograms	
9. Wires
10. Sunrise	
11. dB	
12. Battery	

All tracks by Sage Taylor
SHM CD017
2016 Shimmering Moods Records
Thank you Matthew Hellmich for the words

Buy this album

Parallelism - Angular Geometry - Preview (OUT NOW)

pines

the yearly roundup from Cold Fiction Music is on the horizon!! 

here's my offering :)

https://soundcloud.com/cold-fiction-music

[ This compilation is now available!! https://cfmlabel.bandcamp.com/album/futur-e-cho-2017 ]

an echo from the future - Futur[e]cho 2017 [Cold Fiction Music]

taken from upcoming DR-49 : Sven Laux - Paper Streets
out on November 3rd, 2017
Pre-order : dronarivm.bandcamp.com

Sven Laux’s “Paper Streets” is a deeply intimate and vulnerable affair. Released on the Russian label Dronarivm, Sven paints minimal landscapes with watercolors in shades of violin, cello & piano; stripped bare & soaked in memory. 

The artist’s works bares a sense of detachment & reflection that usually occurs with the passing of time. Forlorn irony shows itself as it reminds you what feels like to fall in love for the first time, while conjuring ghosts from the last time you shared a gaze. 

A departure from the Sven’s earlier work, “Paper Streets” is an organic, neo-classical journey heard through a cinematic lens. Orchestral notes surge like tides and resonate like heartache. Nostalgia echoes and dissolves with a disarming vulnerability. 

Mastered byTobias Lorsbach

Pre-order CD

TRACK PREMIERE : SVEN LAUX - A Glimpse Of Memory

Fallen

For These In Winter

Split with Euglossine out today from Moss Archive! https://mossarchive.bandcamp.com/album/split-2

Press Paws

a song inspired by one of my favorite places, pillar point harbor in half moon bay, ca. play this one loud.

off of my split with paperbark on seil records. cassettes still available here - https://seilrecords.bandcamp.com/album/reasons-to-live

pillar point

Dragon’s Eye Recordings is pleased to announce the re-release of 'Substrate / The Garden' by Japanese sound artist and composer Yui Onodera. 'Substrate' and 'The Garden' (Le Jardin) were originally released in 2007 by Mystery Sea and Taâlem, and after their 2018 remastering, return alongside each other eleven years later. 

On 'Substrate', Onodera interrogates the fundamental limits of perception. Throughout the eight tracks, shimmering frequencies pan through organic tonal structures and streams of resonance swell and ascend in a gradually expanding space of audition. While Substrate accentuates the poeticism of the microsound genre, the album progressively draws a listener toward awareness of the physical subtleties of their own surroundings. 

'The Garden' is a rich, blooming composition built around the sound emitted by hydrogen and oxygen bubbles as captured by the ELS 19, a custom transmitter device which utilizes the electrolysis of water. The irregular sounds generated by this process are micro-acoustic phenomena which can only occur in a particular environment, and sit well beyond the range of unaided human hearing. As such, Onodera considers the relationship to sound and listening outside of a musicological hierarchy that might position environmental sound and music as independent and opposite concepts. Instead, Onodera regards these sensory experiences akin to that of a garden, with instrumental composition and environmental ambience each offering a total, continuous experience with innumerable interdependent relationships. The boundary between nature and artificiality becomes ambiguous.

Substrate / The Garden

Yui Onodera – Substrate 5

mariposa

From the album Anne.  Available November 16, 2018 from Western Vinyl.

Bandcamp https://josephshabason.bandcamp.com/album/anne
iTunes https://itunes.apple.com/us/album/anne/1427808233?ls=1&app=itunes
Spotify https://open.spotify.com/album/19FD6RN5K3xYFThAHM4fGy?si=0hUO0rFVQAigvSPTvJL_4w
WV http://westernvinyl.com/shop/wv182

Joseph Shabason
Twitter https://twitter.com/JosephShabason
Instagram https://www.instagram.com/josephshabason/
Facebook https://www.facebook.com/josephshabason

Anne, the second album By Toronto saxophonist and composer Joseph Shabason, is a tonal essay on degenerative illness. Delicately and compassionately woven with interviews of Shabason’s mother from whom the album takes its name, Anne finds its creator navigating a labyrinth of subtle and tragic emotions arising from his mother's struggle with Parkinson’s disease. Across the nine vivid postcards of jazz-laden ambience that comprise the album, Shabason unwraps these difficult themes with great care and focus revealing the unseen aspects of degenerative diseases that force us to re-examine common notions of self, identity, and mortality. 

Shabason’s uncanny ability to manoeuvre through such microscopic feelings is mirrored by his capacity to execute a similar tightrope-walk through musical genres. His music occupies a specific space that is as palpable as it is difficult to pin labels to. On Anne’s second track “Deep Dark Divide” rays of effected saxophone shine behind clouds of digital synthesizer that echoes the sound of jazz in the late 80s, but with a Jon Hassell-esque depth of sensibility that consciously subverts the stylistic inoffensiveness of that era. There is detail and idiosyncrasy beneath Shabason’s dawn-of-the-CD-era sheen that elevates the album far beyond a mere aesthetic exercise.

Still, the sounds on Anne are not so experimentally opaque as to stand in the way of the album’s through-line of sincerity and emotionality. When dissonance is employed it is punctual and meaningful, like on album-middler “Fred and Lil” where a six-minute cascade of breathy textures builds suddenly to an agitated growl, only to abruptly give way to Anne Shabason speaking intimately about her relationship to her own parents. Snippets of such conversations see her taking on something like a narrator role across Anne while the sound of her voice itself is sometimes effected to become a musical texture entwined into the fabric of the songs without always being present or audible.  The subsequent piece “Toh Koh” then drifts into playful disorientation as a lone female voice echoes the two syllables of the title, recalling the vocal techniques of composer Joan La Barbara, or even the light-hearted mantras of Lucky Dragons. From here the album veers back onto its aesthetic thoroughfare with “November” where Shabason lays muted brass textures atop a wavepool of electric chords provided by none other than the ambient cult-hero Gigi Masin, one of Anne’s many integral collaborators.

The serene tragedy of the album distils itself gracefully into the ironically titled album closer “Treat it Like a Wine Bar” wherein flutters of piano and mournfully whispered woodwinds seem to evaporate particle by delicate particle, leaving the listener with a faint emotional afterglow like a dream upon waking. There is a corollary to be drawn here with what it must be like to feel one’s own mind and body drift away slowly until nothing remains, while the collection of memories and abilities that we use to denote the “self” softens into eternity. On Anne, it is precisely this fragile exchange of tranquillity and anguish that Joseph Shabason has proven his singular ability to articulate.

mariposa

r beny

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John Gilmore—jazz&ambient

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