Exactly how i feel 🤍 thank you for this

Чил

Taken from 'Fringe' LP/Download (E064, Ecstatic 03/09/2021)

A gorgeous swell of intimate soundscaping from Felisha Ledesma on this simmering stunner for Ecstatic, despatching two extended, richly absorbing pieces weft from everyday detritius; synths, strings, voicemail, found sounds - hitting a similar spot for us as Ulla’s diaristic 'inside means inside me’ but with a more defined play of sound-as-light that gently and memorably tugs at the earlobes and heartstrings. 

Exploring a music of presence and ultra subtle inference, ‘Fringe’ is the 2nd release by Ledesma, student of Berlin's estimable Universität der Künste, following from a debut for Enmossed x Psychic Liberation earlier this year. Using AMQR - a software synthesiser built by Ledesma together with Ess Mattisson - both pieces here shimmer with elusive timbres that occupy a realm that feels lost between worlds - neither electronic nor acoustic, but more a sort of observational sound that radiates togetherness and warmth. 

Operating at insightful levels of synaesthesia, Ledesma poetically turns ostensibly humdrum sources into clouds of smoke - emails, voicenotes, walking along the water, a poem attached to an email, walking alone in New York during lockdown, going for a swim at sunset in the desert - all turn into a smudge of memory. When ‘Beamsplitters’ opens with a tangible human presence - a voicemail from a friend - it startles with its earthly pull, eventually getting lost in a tangled spool of found sound leaving just a trace of iridescent, intimate reverie. 

On ‘Golden Mirror’ Felisha gently diffracts a lonesome guitar phrase into a humming thizz with a steeply uncanny ability to jog the memory in a similar way to how olfactory stimulus can conjure feelings of nostalgia. It’s a trick familiar from an emergent new realm of lower case composers creating something like submerged, small scale symphonies that work counter to notions of classical excess or anodyne ambient, instead focusing on microcosmic, highly peronalised sort of worldbuilding that’s impenetrable, yet somehow entirely open.

Felisha Ledesma - Golden Mirror [E064]

Gentle People - Journey (Aphex Twin Care Mix)

Jason Urick is Portland based and he has released his last 3 albums on Thrill Jockey.
Oma333 is honored to play host to his latest release "The Day" recorded just after his last album "I Love You" came out in 2012. 
It's a stunning collection of dark electronics.  
Artwork by Peter Larsson. Black body printing on military grey cassettes. 
Edition of 133. Teaser videos by Kevin Luna 
http://vimeo.com/105284889

Released on the same day; "Golden Oldies" a split tape by Chicagojazzen 
http://vimeo.com/103902765 and Dammit I'm Mad http://vimeo.com/103902930

Sold out
http://oma333.com
http://oma333.tictail.com
facebook.com/oma333tapes


"Whoever You Are" by Jason Urick from "The Day" on Oma333

DADRAS - Yuppie Scum
Off of RUBAIYAT I, out now on @humanpitch

Buy, listen, support here:
http://smarturl.it/hpc03-digi

© 2015 Human Pitch // www.humanpitch.fm

Buy on iTunes

DADRAS – Yuppie Scum

from the album Charles Cohen - "Brother I Prove You Wrong" out on Morphine Records 2015 - doser026LP

Composer, improviser, and Buchla Music Easel master Charles Cohen returns to Morphine with a suite of new material. In keeping with the timbre spectrum of his semi-modular system, Brother I Prove You Wrong is built around pointillist analog tones—Cohen's cosmic "beeps and boops"—that swarm and scatter in mesmeric patterns across four sides. Moving through surrealistic textural overlays and industrial miasma, the album's nine tracks reveal a more introspective and personal side of the artist, following from a retrospective LP trilogy released via Morphine in 2013. Those assembled works, dating back to the late '70s, quickly became essential listening and brought Cohen—at the time largely unknown outside Philadelphia's experimental circuit—to critical renown. 

Brother I Prove You Wrong was recorded in Berlin in September 2014 using the Buchla Music Easel, with production help and support from Rabih Beaini. Mastered by Neel and curated and designed by TankBoys; cover art by Nathalie du Pasquier.

Charles Cohen - The Boy and the Snake Dance

Outside

Fun with multiple layers of distorted vocals 

Butterflies and Moths

Caterina Barbieri & Kali Malone - Glory (Final Movement)

The final movement of Glory is a slowly evolving canon for two electric guitars pouring landscapes of bliss from the pythagorean region of the harmonic spectrum.

Composed at EMS in Stockholm SE 2015.
Recorded at Villa Strozzi in Florence IT 2016.

Side A from XKatedral Volume III
Edition of 100
Released on October 6th 2016

Caterina Barbieri & Kali Malone - Glory (Final Movement)

Bendik Giske - Up

Taken from th album 'Ecstatic Computation' releasedas LP and Download

Ecstatic Computation

Caterina Barbieri 'Fantas' (EMEGO 259)

Taken from the upcoming album Both Lines Will Be Blue, out July 12th on Smalltown Supersound. Produced by Carmen Villain. Flute performed by Johanna Scheie Orellana. Mastered by Matt Colton.

Observable Future

track from Miaux's 'Black Space, White Cloud' LP

Miaux : Lunar Surface

Just for a laugh, although did get Radio 1 play on Rob da Banks show...

The Beatles - A Day In The Life (unknown mix)

Track from the upcoming DE NOR 2020 compilation LP/DL, out on January 11, 2021!

Aaron Dilloway & Lucrecia Dalt : The Monster Of Yesa

An addendum of sorts to his recent 'Faint Hearted' album, Miles' returns with a half-hour EP more squarely aimed at the floor with four darkened, robust variants. 'Blatant Statement' is up first, slowly emerging from a rough alignment of metallic percussion and abrasive stabs not a million miles removed from the kind of racket you'd most likely associate with Vatican Shadow, before the almost-clipped rub of those super-warm bass stabs shifts the perspective to a different kind of environment altogether. 'Technocracy' delivers an oozing House deconstruction, slowed down and inebriated, while 'Infinite Jest' revolves around an industrial cacophony harnessed into a rhythmic anomaly situated somewhere between a technofied Pete Swanson and a sweaty Kassem Mosse. 'Plutocracy' ends the set with a bleached-out warehouse chug, slowed down and menacing, surrounded by a submerged choral arrangement and more of that toughened hammered-metal sound that runs through the EP.

Bendik Giske - Up

Smalltown Supersound

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