I love the layering of noise and distortion! Beautiful track!

man where is this guy? this one is so good

woow where can I download/buy pleaseeeeeee

simple but lovely sounds man. like the pace of the track, very calming and a bit melancholic. favo!

alright. great drones. reminds me of TRAUM. a favorite.

Numbers present to you two slices of freewheeling 4x4 Mosca. Opening track ‘Done Me Wrong' unfurls perfectly, with all the hallmarks of classic garage production; rough, ominous low end and a jacking, infectious beat. The B-side, ‘Bax’, builds on this formula although it focuses more on the punishing, physical side of the bassline. With both these tracks, Mosca’s aim is to make your feet work overtime.

Out now on Numbers - https://itunes.apple.com/gb/album/done-me-wrong-bax-single/id465040923

Done Me Wrong / Bax

Buy on iTunes

Mosca - Done Me Wrong / Bax (Out Now on Numbers)

Sleep Cycles - N3L22 (Edit)

From the Replica LP on Software Recording Co. / Mexican Summer (SFT010).
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Purchase here:
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Oneohtrix Point Never - Replica

from the album 'tragedy & geometry' available 11/14

steve hauschildt 'batteries may drain'

THE DISINTEGRATION LOOPS by William Basinski

Limited Edition Deluxe Box Set

Order while supplies last: http://temporaryresidence.com/descriptions/trr194.php

9xLP
5xLP
1xDVD
144-page full-color coffee table book
Includes liner notes and foreword by Antony, William Basinski, James Elaine, Ronen Givony, Michael Shulan, and David Tibet (Current 93)

Remastered from the original recordings by Denis Blackham at Skye Mastering, UK.

Tracklisting
1. dlp 1.1 (63:36)
2. dlp 2.1 (10:50)
3. dlp 2.2 (32:40)
4. dlp 3 (41:51)
5. dlp 4 (20:11)
6. dlp 5 (52:21)
7. dlp 6 (40:37)
8. dlp 1.2 (21:44)
9. dlp 1.3 (11:58)
10. dlp 1.1 Live at The Metropolitan Museum of Art, September 11, 2011 (42:34)
11. dlp 1.1 Live at The 54th Venice Music Biennale, October 18, 2008 (15:16)

William Basinski - Dlp 1.3 (Remastered 2012)

wolf maps 'gone'

The cold had a certain warmth to it. Worlds, life, among the layers of ice. Complex sounds, alive, found in the darkest rocks, wet with winter’s water. These hollows, rough with age, nature’s hideouts, were the source of inspiration and sounds for the first full-length collaborative effort from Seaworthy (Cameron Webb) and Taylor Deupree.

Webb was plucked from a bushfire and flood-ridden east coast of an Australian summer and deposited via a 20h flight into a New York covered in snow. From wetlands abuzz with wildlife in the Australia to winter’s wooded trails through Pound Ridge, the sonic environments couldn’t have been more different.

Working together in person has been an important point in Deupree’s collaboratinos lately. Much preferring the human interaction and local landscapes over the soulless exchange of sound files over the internet. With this point taken care of the pair struck out in a New York February to a 4,000 acre nature preserve near Deupree’s studio called Ward Pound Ridge, a park rich in history that supports a diverse range of plant and animal life. While the cold of winter kept most of the animals quiet the landscape nonetheless teemed with sounds. The local environment was hit badly by Hurricane Sandy a few months prior and the remnants of broken trees and debris littered much of the woodland area. Deupree and Webb spent three days on the trails recording sounds and images which created direction and purpose for their album which was composed in the evenings in the 12k studio.

The resulting Wood, Winter, Hollow traces a rustic path of the days in the woods with an equally natural soundset fronted by Webb on a nylon string guitar. Bells, sticks, melodica and the occasional analog synthesizer form the sonic backdrop echoing the quiet, but lively sounds of the winter forest. Endemic field recordings, including hydrophones placed in near-frozen streams, became an integral part of the work creating a subtle narrative that places the album in its specific place in time.

The subtle crackle of a slow flowing creek working its way through a cover of ice and frozen leaves. The faint whistle of the pale leaves of the beech tree that defy mother nature by clinging to their tree’s spindling branches against the push of winter winds. The cacophony of whispered raindrops running off infrastructure and hundred year old stone structures. These are the sounds that inspire and infuse Wood, Winter, Hollow. The rawness of winter in a world clinging to fragments of warmth.

Wood, Winter, Hollow

Wood

Wood (excerpt)

Start with a room, a cleanish one, not too rustic, not too slick, and then fill it with tools, fill it with anything that can be used to make other things. Put the room in the forest, but not too deeply in, let’s have the city on the distant horizon. Then, let’s have two craftsman, artists, explorers. Tell them a bit about where the room is, but not exactly. Make them find it, together. When they finally do they will embark on their creations, but it won’t be the immerse-and-shut-yourself-off-from-the-world type of creation. To them, creation involves talking, travelling, experiencing, not just working.

They are Illuha and this hints at how they operate. They are true musicians and artisans with a slew of talents that become all twisted and morphed when combined. On their 2011 debut, Shizuku, their room was a century-old church in Washington state and their tools; whatever instruments they could haul over from Japan and the pianos they were lucky enough to find inside. As creators they have an obsessive attention to detail but also know that the strength of creation doesn’t always lie merely in the act itself. Illuha knows the power of communication.

It was because of the way Shizuku was created that inspired the duo to embark on two Japanese tours and a west coast American tour (not to mention a slew of concerts in Japan since) to not only support the album but to explore the process of creating their music live. In fact, it was the exploration that was so key to these concerts, not just their sounds and their surroundings. Wheels, roads, countryside... these are the seeds for experiences. Combine them with concerts, music, strangers and friends, and Illuha’s path became more clear, ideas crystalized.

After a few months of gigging Illuha developed a strong live presence. They treated their performances as ways to hone their communcation as musicians and explore new styles as they planned the recording of their follow-up studio album. It was during these shows that Interstices was born. As its title suggests Interstices is an album that rests between Shizuku and what will be Illuha’s 2014 sophomore album. It is a collection of live explorations and de/re/constructions. In these recordings Illuha has created a more patient form of music, leaving more space between notes and letting the compositions unfold slowly, drawing the strangers in to their immersive sound, warming and welcoming them. They have taken the time to create rich sonic worlds with an inspring collection of instruments and stories. Their sound is soft and organic, ambience rich with the nuances of acoustic instruments and analogue synthesizers.

These concerts freed Illuha from previous habits and the rigorous, obsessive attention they put into the studio recording of Shizuku. Strangers began to feel like friends and their music was a story of their travels. All the while they were teaching thmselves, each other, skills to take home, back to that room filled with tools where they can craft precisely again.

Interstices III (excerpt)

Ewan Grant, AKA Algernon Doll, presents the free download track 'Anti-them', taken from second album Citalo-pop, due for release on 10th June 2013 via Common Records.

While last years debut mirrored Ewan’s difficulty in dealing with the toils of extreme anxiety disorder and bipolar, Citalo-pop immediately offers up something fresh in comparison with the inclusion of fuzzy grunge-esque guitars, distorted, layered vocals and Algernon Doll’s trademark off-kilter alt-folk sound exhibited in his releases to date.

Evoking the spirit of the likes of Red House Painters on Old Ramon, Mark Lanegan and Elliot Smith, Algernon Doll continues to display a maturity beyond his years by executing such a rich texture to his songwriting - something many of his contemporaries would aspire to achieve.

Opening album tracks ‘Anti-them’ and free download ‘Cassini’, mark an immediate change in direction - a freer feeling from the more introspective debut produced last year. Up tempo, distorted guitars soar throughout, with driven incessant drumming and time changes galore, all brought together by Grant’s emotionally charged vocals. Even the dreamier ‘Home- schooled’, which has a far more ominous feeling, illustrates the direction Algernon Doll has taken as the track builds slowly into a visceral, heavy outro spearheaded by Grant’s expressive guitar playing and intense vocals.

Citalo-pop is a vehicle for Grant to expel his dark outlook on life while allowing him to tap into his punk and hardcore background, thus creating an unsettled sound, one that keeps the listener on their toes throughout the 13 tracks found on the album.

The last year has been an exciting time for Algernon Doll. Having released his debut album, as well as supporting the likes of Franz Nicolay (Against Me), Chris T-T, Esperi and Willis Earl Beal, he now follows that up with another expertly crafted record. By assembling a full band for live shows to replicate the bigger sound produced on the album, Algernon Doll has also added another dimension to his project setting up a thrilling year ahead.

Citalo-pop is due for release on 10th June 2013 via Common Records.

Sleep Cycles - N3L22 (Edit)

Sleep Cycles

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