Taken from the Winter EP, Storming is the first preview from the Seasons EP series; a 4 part series to be released over the coming months each inspired by a corresponding season.
The Winter EP features contributions from Kane Ikin, Tuff Sherm, Scissor Lock and Panoptique Electrical and will be released on August 19th http://feralmedia.bandcamp.com/album/winter-ep

Kane Ikin - Storming

Track taken from the album "Euplexia" due out April 18th 2014.

Having spent the first half of 2013 working on two site-specific installations; UnThread in Southend, and After the Flood as part of Hebden Bridge Arts Festival, Isnaj Dui (aka Katie English) presents the follow up to 2012’s ambitious year-long Duodecim project.  Euplexia, Isnaj Dui’s most recent studio album, sees a return to the raw, edgy sound prevalent in earlier works, yet combines this with the maturity of composition which English has refined over the years.

With Euplexia, Isnaj Dui has drawn on aspects of her installation work and the journal-like nature of Duodecim to combine field recording and sampling alongside her trademark concert and bass flutes and dulcimer.  Using coil pickups, dictaphones and other electronics to build unstable textures and throbbing basslines, English has created a soundscape that is at once serene and grating.  Whilst the trademark schizophrenic nature of tracks is in check, this album also sees a move towards more dissonant harmonic structures and high frequency playing on the flutes.  The CD comes packaged in a hand-printed sleeve. 


isnaj dui / fjoeg

Alone In Yourself

05 Christina Vantzou - The Way Out Is Back

Album: Nº1 DVD and Remixes
Label: Self - Release

and instantly take effect (loscil remix)

Title track from Leafcutter John's new album, Resurrection(Pathway009)

A panoramic sound world of drifting vocals over a densely-processed terrain of mud-caked percussion and guitar, Leafcutter John’s new solo album, Resurrection, is a characteristically unique blend of the electronic and the acoustic, the hi-tech, the human and the homemade.
Resurrection is the sixth Leafcutter John album and his first solo release since 2006’s The Forest and The Sea CD/LP(Staubgold). In the intervening nine years, John has toured from Vietnam to Venice, appeared live with Beck Hansen and Imogen Heap, and provided the score for Crow, a major theatre project by Handspring (creators of War Horse). 

During this time, John has also maintained his permanent role as the unpredictable, electronic antagonist in Polar Bear, the twice Mercury Music Prize-nominated, genre-defying jazz band.
This new record marks fifteen years of releases by Leafcutter John. Born John Burton in Wakefield (Yorkshire, England), his highly original musical voice was first spotted by Mike Paradinas, label boss of Planet Mu Records. Over the course of his first three albums (2000-2003), John established and developed his idiosyncratic London-based studio, and his skills as an inventor of unusual instruments and extraordinary music software.
Resurrection begins with the sound of a single bell, in homage to one of John’s major influences, Bernard Parmigiani’s De Natura Sonorum (1976). From there, the album unfolds over five cinematically varied tracks, “like floating above a world in constant flux,” in John’s own words. In fact, aerial photographs of the Japanese tsunami of 2011 were a direct inspiration for the record.
“I would create complete, fully-formed compositions,” says John, “then later, I’d come back to them, playing the part of
the destroyer, scraping and smearing away elements, weathering, piling up and re-ordering them, as if they’d been hit by a natural disaster.”
Not content with the usual tools available to the electronic musician, John has created innovative new systems and techniques for both live performance and production. This includes a light-controlled instrument that allows him manipulate his live sound through gesture, flickering candles, flashing torches and pyrotechnics. For the track “Gulps,” John coded special software to layer huge swathes of sound. Using a recursive system, he created 7.1 billion layers of a recording of the North Sea, one for each human alive on the planet at the time of writing.
Featuring a guest appearance by Shabaka Hutchings (Sons of Kemet), “Gulps” is a poignant demonstration of John’s
approach: Hutchings’ intimate clarinet is gradually engulfed by a (literal) ocean of sound. This is sculptural sound design
where technological innovation is always at the service of the emotional impact of the music: deeply human at its root, and
mind-expanding in its ambition.

Desire Path Recordings
www.desirepathrecordings.com | leafcutterjohn.com

Credits
Written and produced by Leafcutter John, with Varpu
Kronholm playing additional percussion on “I Know You
Can” and Shabaka Hutchings playing Clarinet on “Gulps.”
“Endless Wave” contains elements of “Forest Of Spades” by
Strings Of Consciousness, used with permission.
Mastered by James Plotkin
Photography by Max Baillie
Design by Chris Koelle, Leafcutter John, and Varpu Kronholm

Distributed by Revolver

Leafcutter John - Resurrection

Over several years, Guenter Schlienz has graced labels such as Constellation Tatsu, Sacred Phrases, S.I.N.K. CDs, SicSic, Preservation so we are very excited here at Rural Colours to be added to that list with his latest work Peace.

After noticing that several friends had begun to end emails marked 'Peace', Guenter Schlienz, ever full of questions, started to ponder on the meaning of the word in this context.  Around the same time he started to read Henry Miller's book 'The Collossus of Maroussi' and was intrigued by a couple of paragraphs devoted to exactly this question: what is "the meaning of peace". He came to the conclusion that there is much more to "peace" than just the absence of war.  The albums track titles are words by Henry Miller, and the work is Guenter's humble attempt to gather sounds and atmospheres around those lines.

Using modular synths combined with tape loops, analog and digital delays, vintage electronic organ and guitar, Schlienz works within a romantically inward looking framework, creating music that comes from deep within.  His compositions reflect themes of tenderness, alienation and homecoming and feature a range of guest musicians including Masako Kamikawa (piano on  'Reverberation of the Pandemonium') and Niko Lazarakopoulos (guitar on 'Faint Whispers') and even an anonymous busker from the streets of Stuttgart on 'Who Put the Demons There?'

inspired by henry miller's book "the collossus of maroussi". / "i never knew the meaning of peace until i arrived at epidaurus ".

Artwork by Katie English / This is rural colours 82
https://ruralcolours.bandcamp.com / vote for us

Guenter Schlienz / Peace (Snippets)

from 'The Endless Sea' [CD|LP|DIGITAL]
Denovali Records · den300
available on all formats at [http://denovali.com/terminalsoundsystem]

From Rebirth and a four track recorder in the year 1999 to broken tape machines, untuned guitars/synths and extreme signal processing an eternity later, Terminal Sound System has remained the primary musical outlet for musician/producer Skye Klein.

It is about stories. There is a narrative, albeit disjointed. Tends to come in threes, like dramatic characters; introduction, exploration, disintegration. It’s about stories, creating a world with sound and words and exploring that until it (inevitably) folds back on itself and starts to self-reference, decay, but also sprout appendages, potentialities.

Roughly a dozen releases have tracked the evolution of Terminal Sound System from post-techno dub experiment to post-everything world-building/destroying. The Endless Sea is the third part of a trinity that began with 2013's 'A Sun Spinning Backwards'. Worlds fell, necessary actions were taken. What happens after exodus, when all is left behind and you get a blank slate? Do we replay the past? Recreate or reimagine?

2015's 'Dust Songs' and 'The Endless Sea' bleed into one another, drawing to conclusion this particular arc. The wave curls back on itself, corrosion amplified. There are more questions here than answers, far more uncertainties than truths. Post-industrial folk stories from a barren earth. Scorched and infinite.

The Endless Sea

Terminal Sound System - The Endless Sea

Mirall

Rauelsson - Sierra

From the upcoming Deaf Center album "Low Distance"

Low Distance

Deaf Center - Movements / The Ascent

~ IIKKI 009 ~

music : The Humble Bee & Offthesky
photography : Nieves Mingueza
album/book : All Other Voices Gone, Only Yours Remains
duration : 42.18 mn
date : July 2019

----------------------------------------------------------------

Jason Corder: vibes, arrangement, mixing, mastering
Craig Tattersall : piano, guitar, vibes, synths, tape loops
Cody Yantis : sax
Julie Slater : viola
Rin Howell : voice
Jiah Shin : cello
Esther Hernandez : flute

Mastered by Jason Corder
Artwork by Nieves Mingueza
Design by Sprflxgrfzm

----------------------------------------------------------------

edition : 
vinyl : limited to 300 copies hand numbered 
cd : limited to 200 cd (glass mastered) hand numbered
book : limited to 300 copies hand numbered + hand stamped

----------------------------------------------------------------

pre-order : June 17th, 2019 / official release : July 15th, 2019

----------------------------------------------------------------

Links :
https://www.offthesky.com/
https://www.leavings.co.uk/
http://www.nievesmingueza.com/
https://www.iikki-books.com/

----------------------------------------------------------------

℗ & © 2 0 1 9 - I I K K I - I I K K I 0 0 9

Guenter Schlienz / Peace (Snippets)

Rural Colours

Recent comments

annihilation tango

Related tracks