love love white white

atmospheric electronic 3

Noise is Friction

Depths #188

Ambient #136

Relax 79

Giant. 

New release available on Limited Edition Blue Vinyl, double A- side, from all good record shops. All feedback welcome,  Feel free to share.

http://www.beatport.com/release/giant-wishing-well/1117515

BUY IT NOW

ROBOT84 - Giant

Track number 7 from the upcoming album 'Seafields' available from Dronarivm 260321

Seafields

Pressure Change

'Pressure Change' - Seafields - [Dronarivm, 2021]

Suburban Summer Trip

DJ Markiyan vs. DJamaica - Suburban Summer Trip (Oldschool Version 1998)

artist: xu
title: slicing space-time into objects
catalog: eR009
release date: 20th of august 2022

release type: ep
series: eRecords digital series
playing speed: 45 rpm

written and produced by nicola fornasari
mastered by james edward armstrong
cover photo by nicola fornasari
art and design by harry towell
whitelabrecs.com/erecord-series/

eRecords are a series of digital editions which aim to transform the digital format into something that can be experienced in a similar way to a listener’s interaction with a real, whitelabel vinyl record. Each edition includes a special PDF scrapbook including polaroids and liner notes and you will only be able to find out more about the themes and ideas about each record, once you’ve downloaded them.

Slicing Space-time Into Objects

eR009 xu - slicing space-time into objects

un instant entre la vague et le sable

Track from the upcoming EP "Last Outpost"
It also Ffeatures The Elephant Frame. 
Check out more of his brilliant sounds here: @the-elephant-frame

Video: https://www.youtube.com/watch?v=cTtpJrBhcx8&list=UUjjZjV7tl_SjjgXMBct4hlg

Walking Distance [Feat: The Elephant Frame]

More info:

https://gasolineradio.com/shows/vsesvitnya-sluzhba-radio-ukrainy/vsesvtnya-sluzhba-rado-ukrani-07-05-05-2023

Follow host:

https://soundcloud.com/ndrewbez
https://instagram.com/andrew.bez

Support us:

https://gasolineradio.com/support

ВСЕСВІТНЯ СЛУЖБА РАДІО УКРАЇНИ #07 05/05/2023

early stage of a movie score for a SciFi film

Distant Nebulas (Score)

DC Promo Tracks #1183: "Il Delfino (Original Mix)" by Lab Infinity ft. Nina K. is part of the release "Il Delfino" on Balearic Ensemble @balearicensemble  

Buy Now: https://balearicensemble.bandcamp.com/album/il-delfino 

More Promo Tracks: https://www.dreamchimney.com/promo

DC Promo Tracks: Lab Infinity ft. Nina K. "Il Delfino" (Original Mix)

DJ Bone - Here To Stay (Won't Fade Away) 
The Detroit EP Part 1 (SUB040)

A nod to Detroit as an ever-present - a marker by which others are measured, Bone's first track on The Detroit EP, Here To Stay (Won't Fade Away) makes a statement above and beyond just being a fine example the music it refers to. The sumptuous melody that opens the track is accompanied by a substantial yet soft, almost warm, kick, a combination that somehow provides an atmosphere and depth way beyond merely the of the sum of its parts. More rolling percussion and drums are crisply ushered in before the Here To Stay (Won't Fade Away) vocal begins looping over the composition. Linear, straight up loops, grooves and rhythm give a consistent sense of railroad-esque motion atop of an ever-present vein of lush synth and melody. A track that is certainly hereto stay.

DJ Bone - Here To Stay (Won't Fade Away)

Check me out on YouTube, I've been most active over there: https://www.youtube.com/channel/UCUZig788vzmYdzMphveBp8g

The Fog Ahead

When We Were Heroes

the original jam of belfast , done one afternoon after collage straight to my 4 track in mono.

Belfast Original Jam

Lambda - Hold On Tight

Excerpt of "Anti"

Purchase here: http://www.juno.co.uk/products/baltra-short-term-goals/639952-01/

Hailing from the hazy streets of NYC, Baltra's trademark sounds have been pleasing the ears of ravers and recliners alike and appeared on just about every dance music list worth a dime at the conclusion of 2016. With recent releases on labels such as Craigie Knowes and Hokkaido Dance Club, Tape Throb are honoured to bring Short Term Goals to vinyl and to contribute to the rise and rise of this talented producer. Think throbbing drums and universal chords with that trademark Baltra warmth that keeps you coming back for more. Ethereal vocals dance on punchy base and silky refrains give you just enough time to catch your breath. All the radiating warmth of house, with all the reminders that you are experiencing something seminal, these are beats on the cusp.

Baltra - Feds Watching (B1)

premiere of "Expiration" by @matrixxman & @brendonmoeller aka Echologist
taken from split EP "Foʞus Expiration", released soon on @format-amsterdam

split EP Details:
https://novafuture.blog/2018/08/07/matrixxman-echologist-juan-sanchez-fokus-expiration-ep-format-records/

Matrixxman & Echologist - Expiration [FR014 | A1 | Premiere]

Cadans - No Connection

The Wind Of ?

The Wind Of?

Keru Not Ever - Tereza

Track taken from the stunning new album 'Parallel Paths'.

Review:

www.fluid-radio.co.uk/2012/10/cello-laptop-edu-comelles-sara-gala%CC%81n-parallel-paths/

Cello + Laptop (Edu Comelles & Sara Galán) - Shoreline

Stations w/ akito misaki

Almost completely unknown in the west, Masahiro Sugaya has been composing and producing music since the 1980s in an exceptionally wide range of fields and practices. From arrangements for musical acts like the acoustic guitar duo Gontiti to acousmatic diffusion at spaces like Paris’s Groupe de Recherches Musicales (GRM), Sugaya's reach is almost exhaustive in its breadth, but it was in the 80s bubble-era kankyō ongaku scene that he first found his musical voice. Horizon, Volume 1 presents a window into these works, culled from Sugaya’s early scores for experimental Tokyo theatre group Pappa Tarahumura. 

As a teenager, Sugaya would visit the avant garde hub of record/book shop Art Vivant run by Satoshi Ashikawa of Sound Process, guided by Ashikawa’s recommendations into the worlds of experimental composition, jazz and ethnographic music. It was there he also met musician Yoshio Ojima—the two would become close friends and contemporaries, working within a circle of Tokyo musicians that also included Midori Takada, Hiroshi Yoshimura and Satsuki Shibano. Ojima, an early adopter of new musical technology, would introduce Sugaya to the possibilities of composing with computers, synthesizers and samplers, which would become a trademark in Sugaya's early works. Surprisingly, the sound sources on Horizon are entirely digital, showcasing Sugaya’s ability to organically recreate complex musicianship approaches via keyboard using hyper-realistic samples. Much like Ojima and Yoshimura’s work, the results eschew electronic music’s usual coldness for something more warm and inviting, the feeling of a human in deep conversation with technology.

Flourishing within the boom of experimental theatre subsidized by corporations during the bubble economy, Pappa Tarahumura forged a unique dream-like style that merged performance art, modern dance and fantastical installation-like stage sets. Sugaya fashioned multiple soundtracks for their productions in collaboration with director Hiroshi Koike, the first two of which, The Pocket Of Fever (熱の風景) and Music From Alejo (アレッホ - 風を讃えるために), he self-released in 1987 on cassette, handing them out at Tarahumara performances. The third, The Long Living Things (Zoo Of The Sea) (海の動物園) followed in 1988 as a CD on Yukio Kojima’s ALM records. Aside from his brief inclusion on Light in the Attic’s Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990 (compiled by Empire of Signs’ Spencer Doran), Horizon presents this work outside of Japan for the first time.

Available exclusively via Light in the Attic: https://lita.fanlink.to/Sugaya

International Press Contact: Gamall / Backspin Promotions - g@backspinpromo.com

Horizon Vol. 1

Masahiro Sugaya - "Future Green" (Horizon, Vol. 1)

Forever is in multiplicity and mutation. Musician and visual artist Nicola Tirabasso (VISIO), together with Haunter founders Daniele Guerrini and Francesco Birsa Alessandri called for a collective effort in order to celebrate these elements of experience. In opposition to linear notions of time itself. An attempt to let perceptions of future and past bleed together, to establish every moment as an infinite process of consumption and re-generation. A compilation of 33 artists, each contributing in their own peculiar style, adding their own blends to the palette and exposing the lineage of their work. It is precisely to state that the perennial immanence of difference is what constitutes the basis for true unity, that the curators have grouped an utterly diverse cast of contributors, whose output strikes a vastity of moods and textures, and grows out of very distinct intentionalities and backgrounds. Making kin without borders, letting mutual support evolve into a chimeric infinity.

Curated by Nicola Tirabasso and Haunter Records
Mastered by Jo at Tapewave Mastering
Artwork by Katja Novitskova & Kareem Lotfy
Cat. No. HR024 – All rights reserved.
℗ & © Haunter Records 2019
www.haunterrecords.com

Pubblicato da:
Haunter Records
Data di uscita:
4 Ottobre 2019
Copyright P:
℗ Haunter Records 2019

Katatonic Silentio - Eerie

My track from the Welcome to Space Lounge Vol.3 cassette:

https://welcometospacelounge.com/shop/welcome-to-space-lounge-v-3/

Forest Floor

marble silence

Marble Silence

I'm thinking of submitting this for a local series of vinyl compilations.

Photo is from http://www.flickr.com/photos/playingwithpsp/3291313767/ by Playingwithbrushes

Bandcamp

Veil

nueen - Iris

around

daniel san

Excerpt from the invisible birds release. 
http://invisiblebirds.org/catalogue/oiseaux003.html

a release of mr. tomonari nozaki. abstract sound projections & melodies using destruction techniques discovered with reel to reel tape-loopsplicings and other analogue romanticisms. mr. nozaki has beginnings in minimal techno and experimental music, and after a slight pausefrom music, has returned in 2012 with some transcendental experimentations into the rarely visited places of "liminality" and "the sublime".

Written and Produced by Tomonari Nozaki 
Artwork and Photography by Matthew Swiezynski

the video of Chapter III (Excerpt)
video made by Ans van de Sluis

[Reviews]
SANTA SANGRE
http://santasangremagazine.wordpress.com/2013/06/23/tomonari-nozaki-une-histoire-de-blue-englishpolish/
ENG: In any film, you’ll come across one or perhaps two moments where the director’s vision burns right out of the celluloid and into your mind. Depending on how effective the said director is at integrating those beats into the rest of the proceedings will determine how good of a production you’re watching. These fleeting, frozen frames are elusive at the very best and illusory at worst. Tomonari Nozaki has, with his album, made the auditory equivalent of a movie that is nothing but those intensely smoldering cinematic yearnings. Each second is an expansive, intuitive descent into what makes our blood curdle, boil and run cold all at once.
Une Histoire de Blue is a profoundly sad, forlorn piece of work. Each chapter a series of regrets, every thunderous wave which breaks upon your ears is a lamentation. What once was, what could have been, where things stand now, the one who never requited what was given them. I hear this kind of artistry rarely in my line of work, it is all too easy to just thrown down a couple layers of formless drone then tinker in a few random noises and call it good. But this release here contains fully-formed, extremely articulate compositions where the field recordings flow imperceptibly into what Nozaki has channeled out of his machinery
Loss is the main arena Nozaki is working within, all of his sounds and structures contain a slowly decaying core; the soundtrack of a satellite descending out of orbit with the lifeless, inert crew forever frozen in place at their stations. Watching. Waiting. Wailing. I cannot help but come away from hearing this with a very heavy heart. The tantalized memories of one person’s understanding of what the color blue can mean. Is this in reference to the film? I could not tell you but the sense of cataclysm and sudden rupture from life are undeniable. We may have both a meditation on all the different meanings of what it is to exist in this realm and also an alternate score to a movie which was easily the strongest act to a three film epic that resonates to this day.
No matter, however, let us return to what Mr. Nozaki has given us. It is described as an excursion into the sublime, which is pretty close to the mark. There are much much more than simple synonymic anagrams going on within these four chapters (the four stages of life? the four cycles of civilization? the four seasons on the calendar?)I’ll leave that with the listeners fortunate enough to hear this… for me they are four exquisitely designed, shape-shifting takes on the very nature of reality. Everything is transitory, this will give you something to hold on to.

PL: W każdym filmie natrafić można na jeden albo dwa momenty, kiedy wizja reżysera przepływa z taśmy celuloidowej wprost do naszego umysłu. Umiejętność reżysera scalania tych ulotnych fragmentów z resztą filmu determinuje jak dobra jest produkcja, którą właśnie oglądasz. Te zwiewne, zatrzymane klatki filmowe w najlepszym przypadku bywają nieuchwytne, w najgorszym iluzoryczne. Płyta Tomonari Nozakiego to dźwiękowy ekwiwalent filmu, właśnie takiej intensywnie się tlącej kinowej tęsknoty. Każda sekunda to ekspansywne, lecz również intuicyjne zejście w stronę tego czegoś, co sprawia, że nasza krew się ścina, gotuje i zamarza jednocześnie.
Une Histoire de Blue to głęboko smutne, rozpaczliwe wręcz dzieło. Każdy rozdział to seria rozczarowań, każda grzmiąca fala, która przetacza się przez uszy jest w istocie lamentem. Co było kiedyś, co mogło być, na czym teraz stoję, co nie zostało oddane. Rzadko słucham tego rodzaju artystycznej ekspresji, bo to zbyt łatwe, wrzucić kilka warstw bezkształtnych dronów, pomajstrować potem przy nich przypadkowymi hałasami i uznać, że to jest dobre. Ale to wydawnictwo zawiera w pełni ukształtowane, konkretnie wyrażone kompozycje, w których nagrania terenowe niepostrzeżenie wplywają w to, co Nozaki wyciąga ze swojej maszynerii.
Przegrana jest areną, na której operuje Nozaki, wszystkie jego dźwięki i struktury zawierają powoli rozkładający się rdzeń; soundtrack dla satelity zstępującej z orbity, z martwą, bezwładną załogą na zawsze zamrożoną w miejscu jej stacjonowania. Obserwując. Czekając. Łkając. Słucham tego z ciężkim sercem i nic nie mogę na to poradzić. To dręczące wspomnienie prób zrozumienia przez pewną osobę jakie jest znaczenie koloru niebieskiego. Czy to odniesienie do filmu? Tego wam nie powiem, ale poczucie swego rodzaju kataklizmu, nagłego przerwania linii życia jest tu niezaprzeczalne. Możemy tę płytę traktować zarówno jako medytację nad tym jak egzystować w tym królestwie, jak i alternatywną ścieżką dźwiękową do pewnego filmu będącego najmocniejszym punktem pewnej epickiej trylogii, która oglądana jest i dyskutowana do dnia dzisiejszego.
Nieważne, wróćmy do tego, co podarował nam pan Nozaki. Określono to jako podróż w wysublimowane, co generalnie jest dość bliskie prawdy. W tych czterech rozdziałach dzieje się o wiele więcej, niż może się wydawać (cztery etapy życia? cztery cykle cywilizacji? cztery pory roku?). Zostawiam to słuchaczom, którzy będą mieli szczęście zapoznać się z tą muzyką… dla mnie to cztery wspaniale zaprojektowane, zmieniające kształt ujęcia jądra natury rzeczywistości. Wszystko przemija, ale dzięki tej muzyce będziecie mieli się czego trzymać.

____________________________________________________________________________________
Vital Weekly 888 
http://modisti.com/13/2013/06/25/vital-weekly-888/
According to the website of Invisible Birds, “mr. nozaki has beginnings in minimal techno and experimental music, and after a slight pause from music, has returned in 2012 with some transcendental experimentations into the rarely visited places of “liminality” and “the sublime”.” I am not sure, but this might be my first encounter with his music. The music here is announced as
“abstract sound projections & melodies using destruction techniques discovered with reel to reel tape-loop splicings and other analogue romanticisms”, which is actually not far from the truth. Not the reel to reel thing, as that is not easy to check upon, but the romantic aspect of the music. I was thinking there is some classical music on those tapes, as a kind of residue (maybe he got the ones from dear departed father?), which he loops around and by adding sound effects makes them a bit more alienated. It reminds me of Jorge Mantis’ The Beautiful Schizophonic with its looped classical music from the 19th century – the romantic era in that music. Occasionally there is a hiccup which I couldn’t figure to be a glitch in the tape, the stretching of samples (so, maybe it includes computers?), or the burning to CDR? These four long and one short pieces work very fine on a grey day: stretched out fields of sounds, passing like slow clouds in the sky, with the occasional crackle being the summer rain drop. Dark but full of hope and light.
Music by Thomas Bel has found its way to here before – see Vital Weekly 663 – when I thought he hadn’t found his own voice yet. Now, a few years later, I hear something new from him, a work that was originally recorded live June 21st 2011 – which is actually exactly two years ago from the day this was written – but ‘re-arranged and edited’ in May of this year. It’s one long piece, of thirty-three minutes and thirty-three seconds, and it sounds like an outdoor concert: rain is pouring down (no doubt on tape and not live), while Bel plays his guitar in a very minimal way. I never know – not being a guitarist myself – if this actually played, or one of those loop devices, but it’s surely very minimal with a bunch of small changes. As the piece evolves there is the addition of some feedback like sounds, and the guitar – now indeed looped – doubles and triples. Blues music? Yes, it could be. It has that dark, laidback Americana blues feeling of desperation and solitude, even when it’s brought to a mighty crescendo in which all air is sucked into the sound effects before its escape towards the end. A fine good solid piece, as dark perhaps as the Nozaki one, but with less light and more despair. In both cases: if you like Machinefabriek or William Basinski, then this is surely worth checking out. (FdW)

[Art into Life product review]
http://www.art-into-life.com/product/3571
Invisible Birdsの限定100部"oiseaux"シリーズの第三弾。テープスプライシングを中心としたアナログの手法にて制作を行う日本人作家Tomonari Nozaki。1曲目は波しぶきを加工した(?)ノイジーなループに始まり(コレがカッコイイ)、その後はテープ独特のヨレた持続音が続くアンビエントな作品集。青ベースのジャケットが美しい。インサート入り。
third release of the limited 100 edition "oiseaux" series of invisible birds. japanese artist tomonari nozaki produces a method of production in analog
with reel to reel tape-loop splicings. first track starts with a noisy loop that has been modified the sea spray (this is cool). then a collection of
ambient tracks with a persistent kink unique tape followed. blue packaging is beautiful

[Aquarius records product review]
Invisible Birds introduces us to another exceptional composer through their ongoing series of limited edition hand-fabricated cd-rs, where we had been previously graced by the langous tones of Arthur De Eriomem and got a brilliant full length out of Thomas Bel. Here, the imprint offers us an album from the Japanese ambient composer Tomonari Nozaki who started out in the techno scene, but grew fascinated with the purely analogue forms of tape loops and and synthesizers. A sense of rhythm and timing is definitely at play in his work, alluding to the beatless Pop Ambient sensibility that Wolfgang Voigt inspired through his classic Gas albums; but the placid, cinematic grandeur of Nozaki's sources harken more to The Caretaker and William Basinski's emotionally laden scores of forgotten dreams. The four lengthy tracks could endlessly cycle through their maudlin melodies that are stretched and swept as if carried away the currents of a cold, gray ocean. Like Basinski, Nozaki is not averse to including the dusty crackle, ferric drop-outs, and tape machined errors in with his composition. They do come across with a greater deal of randomness than on the aggregated decomposition of Basinski's Disintegration Loops; but all of the wooziness and gauzy ambience makes for a beautifully spellbinding listen. Limited to 100 copies. 

[Igloo magazine review]
http://igloomag.com/reviews/tomonari-nozaki-une-histoire-de-bleu-invisible-birds

Prefacing the four, quarter-hour “chapters” of Tomonari Nozaki’s Une histoire de bleu are one hundred and sixty four seconds of ocean waves lapping at an empty beach. Or it could be the never-ending storm on top of Saturn. And it could be made out of surging static electricity. Either way, it is an irenic head-clearer with which to allow his story of blue to unfold. Its description as “abstract sound projections and melodies using destruction techniques discovered with reel to reel tape-loop splicings and other analogue Romanticisms” immediately calls (or shouts) to mind the work of William Basinski and his disintegration loops, and there certainly is shared ground in reaching for the sublime through retrogression.

Like Basinski, Nozaki succeeds magnificently, though without having his tapes dandruff into obscurity in the making, even though they do occasionally and artfully fail. The first chapter of Une histoire de bleu has that classic, far-away Brian Eno sway, while the second is ghostly and desolate as Rapoon. The third chapter has an orchestra sweep, a deep pathos, a cozy autumnal sadness. It is reminiscent of one of the rolling, pastoral landscapes of Andrew Deutsch’s Loops Over Land, just as it leans toward Samuel Barber’s “Adagio for Strings.” “Chapter Four” recalls Basinski with the greatest clarity, graceful and ever falling, ever falling.

Five möbius strips curving into ambient eternity.


Forest Floor

Scott Campbell