Orgasmic music , astronaut in own  divercity of sounds

iTunes - http://smarturl.it/MCKindred
A few years ago I did a remix of a track by Dominik Eulberg called Sansula, which featured an instrument of the same name. After the release a builder of sansula instruments in the Netherlands was kind enough to give me one as a present in case I wanted to use one again in a live recording, which I have finally got around to doing now with this track!

My process consisted of me sitting in my studio (badly) playing the thumb plucked sansula for quite a while, so that I could go back to the recording and pull out some useable loops as a starting point. I wanted a nice warm analogue chord progression to complement, but more in the high bass and low mids than my usual chord progression that's down really low, to fill the mix with the warmth as much as possible.

The track still needed something though, so I turned to some spare recordings of my favourite vocalist - Kathrin deBoer, from some of our previous recording sessions. I didn't want to go for the usual full lyrical approach of a vocal collab track, I just wanted to add some small snippets of human feeling to round off the track properly.

The release is coming out on Fields on the 1st of December along with an intense synth experiment with a Prophet 08, and beautiful remixes from David August and Throwing Snow.

If you're not into buying music there is also a new website I have just launched which will be providing exclusive new free downloads for all in return for signing up to the website - http://www.maxcooper.net/downloads

Origins

When I was touring in Mexico, I was lucky enough to have some days off during a visit to Mexico City, and took a trip to a nearby Toltec/Aztec Pyramid site called Teotihuacan. It's a beautiful place, but when I asked about its history I was told that most of the knowledge and culture of the people who built it was lost, with the arrival of the Europeans. Now it's turned into a rebuilt money making tourist trap, with the loss of its real meaning.

I recorded the space and sounds there with binaural mics, so I could try and capture some of the feeling of it, including a storm which came in, and then I wrote a strings part inspired by the feelings of the visit there. Tom Hodge brought the piece to life by playing a piano part in addition, and I loved the piano so much I decided to make two parts, the first with the piano only, combined with the binaural recordings and a randomising delay feedback network, and the second part with the strings. The first part of Teotihuacan is available exclusively from the free download Quotient Series, and the second part will be coming on the Artefact EP in April.

preorder available - www.smarturl.it/ArtefactEP‏

FREE DOWNLOAD HERE

Teotihuacan - Part 1 - with Tom Hodge - Quotient 4/6

from 'Nomad Frequencies' [CD|2xLP|DIGITAL]
Denovali Records · den237
available 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 - Vessel

2. track of my upcoming debut "Window Gazer" to be released 18th of september via Hellbig Music



Afloat

RA Sessions: Nils Frahm – All Melody/#2

My remix of '00:26' by Ólafur Arnalds & Nils Frahm is now available on 
https://erasedtapes.bandcamp.com/album/erased-tapes-collection-viii
Taken from the album 'Trance Frendz' · www.arnaldsfrahm.com

Ryan Davis on Facebook: www.facebook.com/ryandavissound/
Ryan Davis on Instagram: www.instagram.com/ryandavismusic/
Booking under booking@ryandavis.de

Commencing the 10th anniversary celebrations with a free compilation entitled Erased Tapes Collection VIII, Erased Tapes also welcomes the iconic Penguin Cafe to the roster amongst tracks from new signing Daniel Brandt (of Brandt Brauer Frick) and Peter Broderick’s duo project Allred & Broderick. It also includes recent compositions by Rival Consoles, A Winged Victory For The Sullen, Ben Lukas Boysen, Douglas Dare and Immix Ensemble & Vessel, as well as a previously unreleased soundcloud.com/ryan-davis remix of Erased Tapes stalwarts Ólafur Arnalds & Nils Frahm which was recently favoured by Aphex Twin and an exclusive edit of Woodkid & Nils Frahm’s score for JR’s Ellis, with spoken words by Robert De Niro.

The Story before: 

When i heard the Album Trance Frendz of Olafur Arnalds & Nils Frahm for the first time, i directly felt a connection to the song they both started together at 00:26. The fine textures of the synths and the subtle evolution in this one-taker brought up the idea of having a version i can play in the late nights on the dance floor but which also would work perfectly for listening in your comfort zone. 

The drums and way of how the remix should flow came naturally and as i had the song standing i layered the original stems here and there to have the track playing in some kind of canon. As i was very happy with my personal version i sent it out to https://soundcloud.com/olafur-arnalds, https://soundcloud.com/erasedtapes & the rest of the participants of this project. Gladly Olafur picked up my remix and forwarded the song to the label which lead to having this unofficial version approved to share with you out there. I hope you like it and thanks to Erased Tapes and all involved for the support :)

More

Ólafur Arnalds & Nils Frahm - 00:26 (Ryan Davis Rethink)

"Tuur mang Welten" is available as 12" vinyl and digital download here:
bit.ly/2fJS97G

Buy 12" Vinyl / DL

NDR Kultur Neo x Niklas Paschburg

Saturn is the sixth planet from the sun, and it is the second largest planet with a mass more than 95 times that of Earth. Saturn has 62 moons and takes more than 10,000 days to orbit the Sun. That’s about 30 Earth years. Saturn is most famous for its nine rings which are made of ice and other particles. Saturn is the highest planet in occult cosmology and therefore closest to God.


https://francoissvalis.bandcamp.com/track/saturn

Saturn

"Absolutely fantastic piece of music! Robot Koch is an amazing producer."
Premiered by @kolsch on BBC Radio 1.
Mastered by Mark Dobson at @codamastering.

“I really enjoyed making this remix for Matt Emery” says Koch. “The original piece was already stunning and it was fun to work with the piano and strings stems in a more electronic context. I tried to stay true to the original composition to a degree while still taking the whole thing into my own sound universe.”

Matt Emery - Empire (Robot Koch Remix)

From the 'Branches Of Sun Remix' series. 

www.aukaimusic.com

Branches Of Sun Remixed

Closed Eyes ( Aparde Remix )

Following the release of his latest album ‘Oceanic’ (7K! Records) in February 2018, Niklas Paschburg presents a brand new track, that starts from J.S. Bach’s ‘Prelude In C Minor, BWV 847’ and takes the listener on a floating journey through the piano, synths and percussion that define his unique sound.

2018 was undoubtedly an intense year for the young German pianist, composer and producer Niklas Paschburg. It started with the release of his debut album ‘Oceanic’ via 7K! Records, followed by an intense period of live shows that took him across Europe in a single one-man-band-show and that grew in power and confidence along the way.

Having lived the last couple years in a tiny and isolated village near Nuremberg, after a year on-the-road, taking in 60 shows including concerts and sessions, Hamburg-born Niklas finally found a new base in Berlin.

Niklas supported Danish WhoMadeWho throughout their 2018 European tour and as well as sharing the stage with an eclectic range of artists including The Orb, Blonde Redhead, Vancouver Sleep Clinic and Bath. He also performed headline and festival shows in Germany, Holland, Belgium, Italy, Czech Republic and. Lithuania, developing a steadily growing live audience and a huge following on Spotify and Apple Music.

This live period culminated in his January 2019 performance at Eurosonic Festival in a crowded church. Niklas performed ‘Blooming (In C Minor)’ for the first time to widespread audience acclaim. The track represents the beginning of a fresh direction for Niklas in the run up to a new album scheduled for the end of 2019.

‘Blooming (In C Minor)’ is the studio-version of a live track, born from the desire to experiment with classical music applied to synthesizers. The piece comes from a composition of Bach (Prelude In C Minor - BWV 847), a composition that Niklas was made to play during his studies and had almost come to hate. Now it formed the basis for ‘Blooming (In C Minor)’ and was developed through a series of experiments with Bach live on stage between spring and winter 2018. 

‘Blooming (In C Minor)’ was produced and mixed by Gijs Van Klooster (who also produced his album ‘Oceanic’) at the Red House Studio in Amsterdam. The track represents a breakthrough in Niklas Paschburg’s sound. His main instrument the piano remains the focus but this new direction is more progressive, taking the listener on a journey between synthesizers, loops and his unique, soft drumming.

The seven minute long track combines Bach with both psychedelic and pop influences and includes a nod to the dancefloor. It’s a journey that shifts the boundaries of classical music and how it can be perceived.

Blooming (In C Minor)

Niklas Paschburg - Blooming (In C Minor)

BOOKING
booking@ryandavis.de 

BIO
The Concise characteristics of Ryan Davis's music are within the inexhaustible dimensions of sound, taking the listener on a journey full of stories which describe dreams, desires and create imaginary worlds within oneself. 

Since 2006 you can follow Ryan's traces on almost every important melodic electronic music label worldwide such as Erased Tapes, Anjunadeep, Watergate, Traumschallplatten, Bedrock, Last Night on Earth or Klangwelt Records. Touring the planet constantly inspires Ryan´s musical aesthetics whose quality brought him an international fan base and a reputation that is nothing short of remarkable. 

Over the years he collected notable attention by a variety of artists out of  every electronic music genre such as Aphex Twin, Olafur Arnalds, Stephan Bodzin, Apparat, Max Cooper, Sasha, Vessels, Boys Noise or even Depeche Mode including his music on their ‘Sound of the Universe‘ tour. As well he is playing all around the globe being invited to iconic venues like Bilbaos Guggenheim Museum or Berlin´s legendary Funkhaus.

Nowadays Ryan represents a fundamental name in the modern electronic music culture, in which compositional qualities are a must. His remixes for masterminds like Olafur Arnalds and Nils Frahm, collaborations with Robot Koch or Alex Banks underline his work and musical mindset to celebrate & spread the compositional form of electronic music which leads the way to establish a world on its own besides pure dj-functionality.

Ólafur Arnalds & Nils Frahm - 00:26 (Ryan Davis Rethink)

Ryan Davis

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