Erik Schrody, mas conocido como Everlast versiona el Folsom Prison Blues de Johnny Cash

Folsom Prison Blues - Everlast (Johnny Cash cover)

First album solo for Andrea Sturniolo (aka SonOfthEarth). A voice and a loopstation to paint out a fairy tale..the story of a lil wooden lamp that enters the real world: the cosmos of the colour. 
You can find the tale and separate lyrics on 
www.sonoftheart.blogspot.com

Nel - Cosmo - Del - Colore

Viva Casa de Maria
Viva ela como está
Vamos todos ficar firmes
Cada um em seu lugar
Que vai chegar mais aparelho
Para mais força aparelhar
Esta casa é de Maria
E de Jesus Cristo Redentor
Eu vou receber esta força
A força do meu Senhor
Para fundar com meu São Paulo 
Uma casa de Amor

Viva Casa de Maria 
E viva Mamãe Iemanjá
Vamos todos balançando
Como nas ondas do mar
É meu pai que está apurando
O que tem para apurar

Oh! Minha Santa Maria
Vem aqui nos perfumar
Vem aqui tirar o medo
Vem aqui nos clarear
Que o comando é de São Pedro
Ninguém queira duvidar

19. Sao Paulo

Improvisación realizada por Lengualerta en San Pancho Nayarit con el circulo de mujeres.

Pintura realizada por María Augusta

Nuestros Pueblos

Em oração com a Chanduca (cachimbo sagrado indígena) com Pedrishna e Curva de Vento, Céu Azul recebeu a primeira parte da letra, complementada mais tarde por Pedrishna na força do Rapé Huni Kuim. 
A músicoração foi concebida para a voz de Lua e gravada por Ricardo Mira em ritual.

A Sagrada Medicina

Taken from "Schneeland"
unperceivedrecords.bandcamp.com/album/schneeland

CD | DL

Himmelsrandt - I

Buy Album: https://seabuckthorn.bandcamp.com/album/i-could-see-the-smoke

Lost Tribe Sound releases ‘I Could See The Smoke', an EP from UK guitarist/multi-instrumentalist Seabuckthorn, the EP is available on a limited cassette tape edition and digital. Since the recent success of guitarist Western Skies Motel’s album ’Settlers’ in April, the tribe has hit the jackpot this year signing another of the most interesting guitarists around. Andy Cartwright who records under the name Seabuckthorn came to our attention last year, after a wise suggestion from composer William Ryan Fritch with his full-length album, ’They Haunted Most Thickly’ on the admirable French label, Bookmaker Records. After taking a deep listen, the awe set in. Could this be the missing link between the bombastic, world building intensity of William Ryan Fritch and the sublime, droning meditations of Western Skies Motel? 

Seabuckthorn’s unique breed of guitar-based compositions have the ability to shift gear with such natural ease. Cartwright wields his weapons wisely, choosing a minimal, yet powerful arsenal made up of various twelve string guitars, a well worn resonator guitar, and deep accents of percussion. We hesitate to single out a particular style in the case of Seabuckthorn, as it rests comfortably alongside many genres. Americana and British folk are easy tags. The music also borrows from modern classical and drone. At times, even subtle cues of the Middle East enter the picture. Yet something more ancient is at work here, that recalls the minstrels of old, or the seafaring hymns of a long forgotten civilization. At times, the music comes full force, like an intense hunt through darkened woods, unleashing the resonator like half-tamed hounds, wild and relentless, a sickly horn-like sound rises from haze, a claustrophobic dread setting in the mind of the prey. In other moments, Cartwright's music plays with subdued, visceral tones that immediately fill the mind with imagined, yet familiar scenes: the hushed ember-lit nocturne for a desert at dusk; or the weary basecamp reveries at the summit of impassible cloud-capped mountains. 

Cartwright notes in his own words that, "'I Could See The Smoke' is an arrangement of ideas gathered whilst on a European tour throughout June 2016, along with a couple of older songs I've been playing live for a year or so. After the tour, I returned home to Bristol eager to strike while the iron was hot and try to capture these compositions. Recorded & mixed over a period of two weeks whilst feeling the heat (both literally & politically) I opted for a threatening, even apocalyptic EP title. Saying that, I think most of these songs can offer up a tranquillity to counteract the gravity of these uncertain times, a calm inside the eye of a storm."

Mastered by William Ryan Fritch

I Could See The Smoke

Overgrown Courtyard

Buy Album

Seabuckthorn - Overgrown Courtyard (from I Could See The Smoke)

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)

02 Hobi

When you love a song so much, you treat it like your own. 

This was born because a bunch of us ladies wanted to pay tribute to each other and swapped some music to indulge in. Shout out to Arooj Aftab for starting us off on the thing that made my first week in quarantine bearable. 

Original song written and performed by Haniya Aslam feat. Ali Hamza

Electronics/Production - Natasha Humera Ejaz
Cajon - Ali Hasan Junejo
Recorded @ A for Aleph Studios
Master - Haniya Aslam

All rights reserved.

Dobara Phirse (Haniya Aslam cover)

SonOfthEarth is not a name, SonOfthEarth is not a definition: SonOfthEarth is a condition.
SonOfthEarth is time-undued-undetermined project which goal is to investigate human's ways of expressions. Out of any kind of sub-group or division, SonOfthEarth makes his way out of the sectarianism of the arts and mingles everything, trying to share a message of consciusness: we are energetic doors, made to receive energy, filter it and give it back to our surroundings. No matters what kind of language, what matters is to create this continuous flow avoiding to enclose it in a standard method. Enjoy the infinite potencialities that our energetic vehicle, the body, offers to us.
Music, Painting, Theater, Dance, Pictures, Circus, Videos, Sculpture; conceptual barriers fall apart and the creative process rises again to the focus, instead of a premade, wrapped package of imagination.
SonOfthEarth is a project that starts on March 2012 from Milan: one voice, one loop-station and a bicycle touring Europe. Six months riding and playing music in the most different places, meeting and collaborating with the local artists and using music as a way of cultural exchange.
At the end of the 6 months, SonOfthEarth decides to stop in Barcelona to cultivate more deeply the collaborations and get deeper, as well, in his artistic investigations. A great Experience at Cso Camykaz a squat where all kinds of art where mixed in an explosive expressive mix and at the Theatre of the Senses. After 18 months SonofthEarth goes back to Sicily, where is working now at his new album: Resonance - The Music of the Symbols - From, With, to the Chakras..

Nel - Cosmo - Del - Colore

son of the earth

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