I feel like it’s the same way as you do with me

Title : Day Has Ended
Artist : Aaron Martin / Christoph Berg
Label : Dronarivm
Release Date : September 23
Catalogue number : DR-14
Format : CD, ltd. 250
Release page : http://dronarivm.com/2013/08/28/aaron-martin-christoph-berg-day-has-ended/

Aaron Martin & Christoph Berg’s split called “Day Has Ended” is a piece of quiet, intimate music, interfused with daylight and covered by a soft mist of evening dreams. This album spans the course of a day until the point where night falls.

The first part, created by Aaron Martin, is a water-colour, cool and delicate. The twinkling sun reflected itself in a slow river, transparent silvery clouds sparkle and brush the heads of drowsy trees. The closer to the middle of the album, the lower goes the gentle shadow, saturating. In the second part - Christoph Berg’s one, water-colour turns into gouache. The sound becomes more full, more sensuous, it comes in waves, like breath of a sleeping man.

Just close your eyes, be all ears and you’ll feel – the night is not silent. Sweet tune of twilight and darkness full of echo, humming blue, vague voice of the strings and clear gleaming of bright stars in a velvet sky – that is the night.

It’s a perfect and severely sincere work, slightly bittered with melancholy.

Aaron Martin is a very talented multi-instrumentalist from Topeka, Kansas who has releases on such labels as Experimedia, Preservation, Under The Spire, Sonic Meditations.

Christoph Berg is composer and sound artist currently living and working in Berlin focusing on fragile acoustic chamber music compositions. Also writes electro-acoustic music as Field Rotation. He has releases on Facture, hibernate, Denovali Records, Fluid Audio.

Curated by Bartosz Dziadosz (Pleq)
Cover painting "Where The Sea Once Was" by Richard Moult
Designed by Dronarivm Art

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Aaron Martin - Slow Wake (taken from 'Day Has Ended' split CD)

With a little help from NASA, we present the second track from the compilation Dark Space Matters - 'Lumina'.  More here: http://bit.ly/1rt7cz0

Lumina

Petur Jonsson | Lumina

Emilie Levienaise-Farrouch is an award-winning French pianist/ composer currently living in London. Spanning film score, bespoke composition and sound design, her work is connected by both its high quality and evocative, meticulous craft - a common sensibility of elegant, instinctual composition. Signed by FatCat’s post-classical imprint 130701 following receipt of a stunning demo in 2014, Levienaise-Farrouch’s first album, ‘Like Water Through the Sand’ is set for a November 2015 release, and – alongside Dmitry Evgrafov’s debut for the imprint - marks an invigorating injection of fresh blood for 130701, introducing a striking new voice to the genre.

Like Water Through The Sand

Emilie Levienaise-Farrouch

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Emilie Levienaise-Farrouch - 'Scale Of Volatility'

I found a sound that sounded familiar because it sounds like something I heard a couple of times in (short) video’s on social media platforms. I thought “what the heck” and in a ‘weak moment’ I decided to just jump the bandwagon. It’s a nice ominous sounding sound but at the same time mysterious and almost reassuring. I made a simple melody and put some synths and bass underneath. This sound is called “AphexTone” and comes from Carbon 2 (Reaktor library). As usual I’ve used a Spitfire Audio soundpackage. This time it’s from GAIKA’s “War Island”. I’ve also used the soundbank Ethereal Earth from Kontakt’s “Play Series Collection” and a sound from “Hypho” which is also by Kontakt. Just like in the last song I’ve posted I tried to make a guitar-sound from something that isn’t a guitar. It turned out pretty good. This song is nice and short (like a intermezzo piece) and I like to think of it like as a theme from a non-existing mysterious ‘old-school’ television series like the “X-Files” (or something like that). The title is an anagram of AphexTone. The picture is of a cuttlefish I saw near the coast of Tulamben in Bali. With some filters it looks even more alien especially with the light and the background that looks like it’s from an alien planet.

A Next Hope

Pre-order 'Trance Frendz' on LP/DL: www.erasedtapes.com/store/index/ERATP081
or digitally iTunes: snip.ftpromo.net/trancefrendz

Having been available exclusively as the second disc to 2015's 'Collaborative Works', Ólafur Arnalds and Nils Frahm's improvised audio recordings 'Trance Frendz', taken from their 45-minute studio film of the same name, have been given their own vinyl release – out March 4th, 2016.

Prior to a string of collaborative Erased Tapes releases, which include 2012's 'Stare' 10” and last year’s 'Life Story Love and Glory' 7” and 'Loon' 12” – compiled on the 'Collaborative Works' 2-CD set, Ólafur Arnalds and Nils Frahm spent many hours together in their studios across Berlin and Reykjavik. Both have carved out genre-defying musical careers and formed unique live shows, creating a fan base loyal to their prolific output.

During a session at Durton Studio in Berlin last summer, Nils and Ólafur invited Alexander Schneider and his camera to document it. The recording continued long after the first take, stretching out into the next day until, eventually, several new improvisations had been recorded in 8 hours with no overdubs or edits. The unexpected nature in which these pieces had been created was reminiscent of their first on-stage improvisation many years ago. It became immediately clear how special these songs were.

"At the end of the night we had all this music that sounded unfamiliar even to us, loudly asking to be included in this collection.”

Originally made available as a 45-minute film on their joint website (www.arnaldsfrahm.com) last September, 'Trance Frendz' will be available to own on vinyl from March 4th, 2016.

Press for their 'Collaborative Works':

'A particularly joyous wash of slinky percussion and juddering layers' (8/10) – Clash

'An enchanting listen. The bar for a Lads' Night In has just been raised a few notches' (7/10) – Drowned In Sound

‘This is music for slowing down the pace of modern life... An immersive listening experience is guaranteed, while we must hope Frahm and Arnalds go on ‘holiday’ together more in future, and don’t forget to take their musical instruments.’ ★★★★ – MusicOMH

'A collection of gorgeously intimate piano compositions and eye-opening synth pieces, each never aggressive but always powerfully poignant' (8/10) – Under The Radar

'What Collaborative Works offers is something strange: a shared world created by two mad geniuses. Long may Arnalds and Frahm tinker' (8/10) – PopMatters

'Collaborative Works further proves just how natural a fit Ólafur Arnalds and Nils Frahm are together' – Resident Advisor

Trance Frendz

20:17

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Ólafur Arnalds & Nils Frahm – 20:17

www.lisa-morgenstern.com
produced by Sebstian Plano
mastered by Martyn Heyne
photo by Miguel Murrieta Vásquez

published for Crowdfunding on Startnext 2016
for the upcoming album 'Chameleon'

Levitation [feat. Sebastian Plano]

Digits

Taken from their forthcoming mini-album 'Ellis' out July 8 on Erased Tapes.

Pre-order the LP/CD/DL here: www.erasedtapes.com/store/index/ERATP086
or from iTunes here: http://snip.ftpromo.net/ellis

For the first half of the twentieth century, Ellis Island stood as the gateway to America. For some twelve million people, it was their first encounter with the land they hoped to call home. 

Directed by acclaimed artist JR, ELLIS tells the story of one such migrant. Starring Robert De Niro, the film winds its way through the crumbling hallways of the abandoned Ellis Island hospital complex, now home to JR’s Unframed art installation. It’s a place that reverberates with the hopes and fears of those who passed through it, the echoes especially resonant today.

Entwined with the narrative is a score composed by Woodkid, performed and co-written by Nils Frahm. The delicate piano motifs of Winter Morning I culminate in a crescendo of strings, while the harmonium swells on the B-side are the foundation for De Niro’s narration: an encomium for those who shaped modern America. 

There’s perhaps never been a more fitting time for this story, with all the proceeds going to the Sea Watch initiative, a non-profit charity dedicated to the protection and rescue of civilian refugees. 

Following a screening as part of Nils’s Barbican Weekender, the ELLIS score will be out July 8th, the same week as America’s great federal holiday. It will be available via Erased Tapes as a mini album on CD, vinyl and in digital format containing a 12-page picture booklet.


IN THE ARTISTS’ OWN WORDS:

Nils Frahm: ‘The opportunity to work on JR´s fantastic short film ELLIS came through my good friend Yoann aka Woodkid. We agreed on recording the piano parts in my studio in Berlin and so it happened that JR and Woodkid were guests at Durton studio on a wonderful late summer day in 2015. We managed to record all the crucial elements that day. The music fell in our laps and melted with the images: a wonderful experience. The film has stuck in my head ever since; it moved my heart and changed my soul.

A couple of weeks later I had to cancel a trip to Brussels because of a terror warning; all events got cancelled and I stayed home, having an unexpected day off. I felt rather depressed that day, thinking that the Europe I knew was already gone. I sat down at the harmonium, listened to Robert De Niro’s voice and played for the rest of the day. The result is ‘Winter Morning II,’ the B-side of the ELLIS soundtrack release.

Robert says it all in 17 minutes. We are not facing a refugee crisis. We are facing a crisis because we do not embrace, we do not sympathise and we cannot give up fear. Art can encourage so I hope this project will help fight the fear in all of us.’

Yoann Lemoine, aka Woodkid:  ‘Ellis is my second collaboration with JR after the New York City Ballet piece for Les Bosquets. I initially wanted this piece to sound like it was recorded on an old piano that we found in the ruins of Ellis Island, in the restricted area that is not open to the public, where JR pasted the pictures on the walls for the film Ellis.

I had worked with Nils before and I wanted him to create a sound for this piano part that I composed that was extremely gentle and organic. I wanted the listener to hear the mechanisms, the breathing of the instrument. I wanted it to be imperfect, to sound like a ruin, a trace, an echo, the way the pastings on the walls seem to be ghosts, almost imperceptible.

After a few rehearsals, Nils stripped down my piano parts and we removed almost all orchestration around the piano. He then worked on the extended version that is his interpretation of my piece, with Robert de Niro’s vocals.

Because this film and this recording is historically meaningful, it was important for us to create this piece as an echo to the immigration situation in Europe, and decided to release it in support of Sea Watch.’

Ellis

Winter Morning I

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Woodkid & Nils Frahm - Winter Morning I

From the album: Panoptique Electrical - Disappearing Music For Face

Physical copies and digital downloads available here:
https://soundinsilencerecords.bandcamp.com

Sound In Silence is happy to announce the return of Jason Sweeney and his Panoptique Electrical project, presenting his new album Disappearing Music For Face.

This is his second release on the label after last year’s, already sold out, debut album of Great Panoptique Winter, his collaboration project with Richard Adams of Hood and The Declining Winter.

Panoptique Electrical is both an experimental studio project by Jason Sweeney, based in Adelaide, Australia, and instrumentalist collaboration with electronic and classical musicians Zoë Barry, Jed Palmer, Tristan Louth-Robins, Cailan Burns, Noah Symons and Richard Adams and visual artist Steve Phillips.
While in the last decade Jason Sweeney has made Panoptique Electrical his central focus, for about twenty years he has been composing and recording either solo, under the alias of Other People’s Children and Simpático, or with friends in various musical projects like Pretty Boy Crossover, Sweet William, School of Two, Luxury Gap, Par Avion, Madeline’s Wreath, God Burning System, Great Panoptique Winter and Mist & Sea. For almost a decade he has also been composing sound and music scores for live theatre, dance, film/video and installation projects.

Disappearing Music For Face is another outstanding release from Panoptique Electrical that generates many emotional reactions. It’s a collection of eleven brilliant compositions of gentle piano with small touches of minimalist electronic beats, echoing keys and soft swells of heavily reverbed drones. The beauty of this album will truly captivate the audience of both ambient pioneers like Brian Eno and Harold Budd and artists like A Winged Victory For The Sullen, Labradford and mid period Hood recordings.

This is a limited edition of 200 handmade and hand-numbered collectible copies. It is packaged in a lovely hand-stamped 127mm x 127mm 260 gsm pale brown cardboard envelope with the front cover image printed on a polaroid style photo paper and two inserts with the tracklist and the credits printed on a 190 gsm reddish-brown cardboard. It also comes bundled with a download code coupon and a Sound In Silence card.

Panoptique Electrical - In A Forest Forlorn

"Ulenflucht" from Niklas Paschburg's debut EP "Tuur mang Welten".

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

LP|DL

Niklas Paschburg - Ulenflucht

https://www.facebook.com/sebastianplano
Watch Live Video Session at: https://www.youtube.com/watch?v=fB9zsb2wy9I

Sebastian Plano - 'Indie' - Funkhaus Live Session

upon A New Error by Moderat

piano version: luca longobardi

A new error (Moderat cover)

Jóhann Jóhannsson - Odi Et Amo featuring Iskra String Quartet (Brussels, April 2009)

Save Me Not - the new album out now: https://sebastianplano.ffm.to/savemenot

Cellist, composer and producer Sebastian Plano is best known for his unique approach to music creation: Uninterrupted nights playing and recording every single note by himself in his Berlin studio, layering each musical phrase at a time. Creating entire ensembles by oneself makes for a distinctive sound, the genre of which becomes difficult for anyone to categorize.
His recent album “VERVE” got Sebastian Plano a nomination at the 62nd Grammy Awards in 2019.

Plano began playing the cello at age 7, and writing music at 12. He later left his home city of Rosario, Argentina, driven by a strong cello-soloist career ambition. It is only after years of dedicated study in renown conservatories across the world, that he chose the path of composition instead, leaving conductors and black suits behind him.

After a well-received solo debut “Arrhythmical Part of Hearts”, which he promoted busking at San Francisco’s subway stations, he went to meet with Nils Frahm in Berlin to master his second title “Impetus”. He later released “Novel” in 2017, a 2-track EP featuring former Kronos Quartet’s cellist Jeffrey Zeigler as a guest artist. Then scoring, alongside Ben Lukas Boysen, the award-winning Playstation game ‘Everything’ and more recently, writing and performing string arrangements for British singer-songwriter Celeste. 
Sebastian Plano received a Grammy Awards nomination for his last album ‘Verve’ released on Mercury KX in 2019.

Sebastian Plano - 'Indie' - Funkhaus Live Session

Sebastian Plano

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