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

Unreleased Demo of "You'll Miss Us One day".
The final version is released on "Gravity" / Ad Noiseam Nr.168.
http://www.adnoiseam.net/adn168

Ben Lukas Boysen - Variation (Unreleased)

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

...

nothing feels real.

nothing is real.

...

where am i

A song about being alone and contemplative during the middle of the night, a sense of foreboding but also a sense of wonder and magic that the night holds unknown..

Nightcraft

from 'Machine To Machine' [CD|2xLP|DIGITAL]
Denovali Records · den235
available in July on all formats at [http://denovali.com/ricardodonoso]

Following on from early 2015’s exercise in dissonant formalism “Sarava Exu”, “Machine to Machine”, Donoso’s newest full length work sees a return to a more melodic sound. “Machine to Machine”, continues to bridge the gap between Donoso’s more rhythmic and melodic work alongside his more experimental, loose and dissonant side yet still maintaining his unique signature feel; “WTF”-polymetric rhythms, elegant cinematics and spine chilling tension. Recorded over the last two years in between visual commissions and more through-composed heady works such as “Sarava Exu” and “A Song for Echo”, “Machine to Machine” represents Donoso’s return to the songbook format for the first time since 2012. 

Influenced by the work of Edward Bernays, Gustave Le Bon and Ernest Dichter - wherein past efforts have seen Donoso looking inwards, “Machine to Machine” has him looking outward - incorporating subliminal advertising techniques such as backmasking, ZMET and steganography, “Machine to Machine” is a meditation on priming with and without awareness and a treatise on the psychophysics of our contemporary age. 
“Machine to Machine”’s collection of songs are Donoso’s most versatile yet, incorporating all major elements from his discography into a unified album. There is something for everyone on “Machine to Machine”, and that is well the point, a vast range of emotion eliciting stimuli for your consumption.
 
RICARDO DONOSO is a composer, percussionist and electronic musician from Rio de Janeiro, Brazil who currently resides in Boston. After having studied composition at Berklee College of Music and New England Conservatory he has participated in a slew of projects over the years, most notably playing drums for avant-death metal unit Ehnahre and being one half of the ever morphing electronic duo Perispirit. Ricardo's musical vocabulary draws as much from contemporary composition, drone, to techno and noise.


Machine to Machine

Ricardo Donoso - Dance of Attunement

Music from the forthcoming EP by Luke Abbott and Jack Wyllie of Portico. 

Released via Buffalo Temple (BFFT003) on 25th September available on 12" vinyl and digitally.

Xantako

Afterglow

Opening track + track two from the ambient album 'This is soon too late'. 
FDL#05.

Support independent music?
www.federleicht.be

Herbstlaub - Tijd als beloven / Du nahmst ganz einfach meine Hand (FDL#05, 2016)

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)

"Who Knows, Who Knew" is taken from the album Lies, Deception and Sin by Niskogradba.

Release date: 18.10.2018
Format: CD/Digital

All tracks sampled, looped and produced by Niskogradba 
between November 2017-March 2018 
Mastered by Roel Weerdenburg

Limited edition of 40, Professionally manufactured high quality CDr's, Handmade packages, hand numbered.
Different colored wallets with envelopes: Brown Kraft, Blue and Red.
Bigger and smaller sleeves, smallest size in transparant bag.
Photo's.

Order: https://shimmeringmoodsrecords.bandcamp.com/album/lies-deception-and-sin