Oversky

"Comfort Me" is taken from "Prism", the forthcoming album on Preserved Sound by Western Skies Motel.

Comfort Me - Western Skies Motel

Open Recording Session @ Superbudda, Turin, IT.

Insta: https://www.instagram.com/sebastianplano/

Indie Live in Turin: https://www.youtube.com/watch?v=mKl7OZ1s8ow
Indie Live at Funkhaus, Berlin: https://www.youtube.com/watch?v=fB9zsb2wy9I

New Song - 'Indie' Live in Turin, IT.

Federico Albanese - THE BLUE HOUR


'The Blue Hour' will be released on LP, CD, Download via Berlin Classics Neue Meister on 15 January, 2016   

Buy on Itunes - https://itunes.apple.com/us/album/the-blue-hour/id1053970394

Berlin based, ‘piano poet’ Federico Albanese took inspiration from the brief transitional state between day and night, writing a collection of chamber-music miniatures that withdraw, explore, yet assert their laconic melodies all the more decisively. The emotions to which Albanese has given expression in his thirteen compositions have been articulated with well-considered gestures.   

Equally well-considered is the choice of instruments that Federico Albanese deploys on ‘The Blue Hour’. Piano and synthesizers are joined by a cello, magnified by over-dubbing and sound effects that culminate into a little chamber orchestra, which swells the acoustics while checking the dominance of a clear solo voice. Albanese esteems the Gesamtklang, the overall sound image, with its mixture of compositional precision and dreamlike fluidity. For this reason, the pieces are recorded from start to finish on analogue equipment, further enhancing the warmth of their sound. In ‘Céline’ we hear a discreet beat, scarcely perceptible, a gentle pulse that lends structure without jeopardizing the charm of ‘The Blue Hour’.  

“There is a particular moment when opposites are very close, almost touching one another. When there is still light but not quite darkness. A world in between, where all things are uncertain, vague, floating into shade. We can follow or observe, unsure where this would lead - into darkness or light; into the shadow of memories and dreams. A reflection of our desires and hopes, ready to be seen or unseen. It can be a sudden glimpse, with ideas turning into shapes, not yet complete. You can see things, but are unsure what they are. It is an unrevealed choice. A place to recover and heal, lulled by the security of the warm shadow of an ancient tree upon a hill" – Federico Albanese

Buy on itunes

Migrants

in the Ruins (cover instrumental)

the dark and the light and everything in between (live)

03 183 Times

3.32.39 is the 4th track in preview of Plume, my album on vinyl, that will be released October 16th.
The title is the exact hour in which, on April 6th 2009, an earthquake occured in L'Aquila, destroying  part of the city and changing its very soul forever.
The track is meant to be an homage to the victims memory and, at the same time, a hymn to life for whom has survived and found the strength to react.

http://luca-longobardi.bandcamp.com/track/33239

3.32.39

THE FREEMARTIN CALF (an original soundtrack) 
original music by Frédéric D. Oberland with Gaspar Claus
poetry & film by Jayne Amara Ross 

Out on Deluxe LP+DVD & Digital - September 23th 2013 via Gizeh Records
ORDER: https://fredericdoberland.bandcamp.com/album/the-freemartin-calf-ost

FILM TRAILER: https://vimeo.com/14898901

///

“An arresting film narrative and  a provocative stand-alone soundtrack. Moments of beauty are many." Textura

“Delicate and very effecting. A comparison would be the spoken elements of Swans and lyrically it shares much with the film noir cool of Enablers." Nine Hertz

“Shot in stark black and white and imbued with a mesmerising dreamlike fragility, the film’s look brings to mind some of the great Expressionist movies of 1930s Germany as well as Tarkovsky’s Stalker and the work of modern masters such as Béla Tarr”. Decoder Magazine

“Elegant, harrowing, and consistently captivating." A Closer Listen

“Deeply evocative and dangerously sensual.” Fluid Radio

///

The film The Freemartin Calf was shot on super 8, hand-processed and edited at home by Jayne Amara Ross between 2009 and 2010.

The music was composed and recorded at Magnum Diva Studio by Frédéric D. Oberland with Gaspar Claus /// Mixed on an analog console at Le Fresnoy by Maxime Champesme /// Mastered to tape at Durton Studio by Nils Frahm /// Jayne Amara Ross: narration /// Frédéric D. Oberland : electric bowed guitar, fender rhodes, piano, kalimba, harmonium, theremin, bowed glockenspiel, bells, electronics /// Gaspar Claus: cello /// Maxime Champesme: sound design, field recordings

///
www.fredericdoberland.com
www.jayneamaraross.com
www.myspace.com/gasparclaus

ORDER LP+DVD

The End / Credits (feat. Gaspar Claus & Jayne Amara Ross)

Listen / Purchase: https://lnk.to/mnem

For a ton more info see our FAQ section on the website series home page.  Ala carte orders for 'Mnemosyne' on vinyl/CD/DL, visit here: https://thephonometrician.bandcamp.com/album/mnemosyne

‘Mnemosyne’ is the debut album from Mexico City based multi-instrumentalist, film composer and sound preservationist Carlos Morales, who creates under the name The Phonometrician.

‘Mnemosyne’ is an album that asks what memories would sound like if they were captured through sound. At its core, ‘Mnemosyne’ is album built around finger-picked acoustic guitar, somewhat classical or folk in nature, yet it’s much more than that.  Morales deploys a very specific palette of instrumentation to realize his musical vision, it’s as if a classical guitar is slowly being worn away and devoured by an onslaught of looping, ever-shifting analog sound creatures, scattering for cover when the light hits them too directly and continuously eat away at the strings. Much like rifling through the pages of an aged and tattered diary, warm shuffles of vinyl and airy waves tape saturation emerge only to retreat once more into the darker recesses, leaving the pysche grasping wildly to recall the meaning of their existence.

Artwork by João Ruas (https://joaoruas.com)

Mnemosyne

Here Comes The Storm

Buy Album

The Phonometrician - Here Comes The Storm (from Mnemosyne)

Scale

To Learn and Grow

Philip G Anderson & Laura Masotto - To Learn And Grow

“Some of it reminds me of minimal music, the repetitions, the different layers that build up little by little, but she doesn’t hide behind them, she uses these techniques to express her own ideas. I find it wonderful how carefully she goes about it. When she’s onto an idea, she doesn’t just grab it, but approaches it carefully and gives the idea time to blossom.” – Tuula Simon, WDR 3, “3 von jetzt” (“3 of now”)

Sophia Jani is a German composer of contemporary classical music who takes a poetically minimalist approach to composition. She is the current Composer in Residence of the Dallas Symphony for the 2023/24 and 2024/25 seasons, as well as the 2023 Musical Artist in Residence of the Arvo Pärt Center and recipient of the APC Fellowship.

Her music has recently been performed by the New Jersey Symphony, the Munich Symphony, Bang on a Can, musicians of the Dallas Symphony, the Goldmund Quartet, vocal sextet Sjaella, and pianist Eunbi Kim, among others. She has also contributed music to successful film, theater, dance and album projects.

In 2021, Jani was awarded the prestigious Scholarship for Music by the City of Munich for her solo violin piece III. Her debut album of chamber works, 2022’s Music as a mirror, received a nomination for the German Classical Music Prize “Opus Klassik.” In June 2022, she co-composed and produced “Tulips” with violinist Darian Donovan Thomas, which was featured on !K7’s String Layers Vol. II. And in July 2022, she participated in the Edward T. Cone Composition Institute at Princeton University, where her composition “What Do Flowers Do at Night?” was performed by the New Jersey Symphony under conductor David Robertson.

In addition to her work as a composer, Jani is passionate about building a diverse and international community of artists that open-mindedly addresses the challenges notated music faces in the 21st century. To that end, she is one of the founders and artistic directors of “Feet Become Ears”, which is a platform that commissions, presents, and celebrates contemporary chamber music.

Jani holds degrees from the University of Augsburg, the University of Music and Performing Arts Munich and the Yale University School of Music where she studied with Martin Bresnick and David Lang, made possible through the generous support of the Fulbright foundation.

the dark and the light and everything in between (live)

Sophia Jani

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