Name: Your Feathers Up by The Coral Sea
Duration: 3 min 42 s
Description: "Your Feathers Up" by The Coral Sea https://www.instagram.com/thecoralsea/

"Your Feathers Up" by The Coral Sea https://www.instagram.com/thecoralsea/

Golden Planet Sky

Your Feathers Up

The Inventory Of Our Desire

Faces

Aventine (Deluxe)

Chord Left (Live)

Format: CD, LP, Download | Releasedate: 05.09.2014

TRACKLISTING CD:

01.	So-Called Lover
02.	Care
03.	Oedland 
04.	You
05.	Jungholz
06.	Masquerade
07.	Walk On
08.	Dance To The Mallet feat. Lisa Bassenge
09.	Ein Engel Verschwand
10.	Dawning
11.	Gone
12.	Selfie

iTunes: geni.us/KasariTunes
Amazon: geni.us/KasarAMAZON

Arnold Kasar is a musical jack of all trades: in countless projects around the Berlin based label Sonar Kollektiv, the musician grown in the southern area of the picturesque Black Forest left his traces, among them Nylon, AtomHockey or with Volksbühne-player and latest Internet-Hype Friedrich Liechtenstein („Supergeil“). 
However, the trained sound-engineer is also capable of going solo, as he proved with his solo debut „The Piano Has Been Smoking“ in 2012. Now he returned to his first instrument and his timing couldn't be better, since the piano returned to new strength in the music world, as the numerous releases of pianists in the past few years have shown.

„I really hope that the timing is good, but I can't influence it. At last I do it for my own. When I started doing music as Kasar back in 2010, I just didn't know Nils Frahm or Brandt Brauer Frick. All these people weren't on the spot by then. I listened to Gonzales and of course Hauschka and Craig Armstrong were there, too. Yann Tiersen was totally famous at that time“, the pianist explains his view on his colleagues when he started making music by himself. But, with releasing his second album „Walk On“ at this point, he didn't intend to flirt with a hype. The piano, which has accompanied Arnold Kasar from his childhood on, always just fell out of the recordings in the past. Due to this enduring relationship to his first instrument he got bored of it. Instead, he preferred to dedicate himself to sample-based electronic music with his friend Friedrich Liechtenstein or making Nu Jazz in several musical projects around the world-famous Berlin based Sonar Kollektiv (home to Jazzanova, The Black Seeds or Solomun). But sooner or later the piano had to return to the centre of attention.

That was in 2010: at that point the work on the new LP „The Piano Has Been Smoking“ had started, being released in 2012 and fully concentrating around the piano. By then Kasar already used the technique of the prepared piano, which once was introduced by John Cage and nowadays is excessively used by Hauschka, among others. For this Kasar used erasers, tea bags or patches to manipulate the sound of the piano and to bring out unheard and exciting tones of his instrument. Only one song, the designated single „Put A Light On Me“, was supposed to have a vocal track, but after he didn't find the right voice for it, he simply sang it himself. Like this, for the first time the world got to hear the dark and melancholic timbre of Arnold Kasar. The desired airplay (i.a. Austrian „FM4“ or Berlin's „RBB RadioEins“) was achieved easily and from that moment on Kasar was delighted by the idea of singing on his own productions, since he had closed the chapter of producing an album on a prepared piano anyway. For this reason the comparison with an artist such as Hauschka, who made this technique the concept of his own creative work, is merely adequate. Kasar rather walks on, restless and always willing to try something new.

But this doesn't mean that he has to quit it completely: also on „Walk On“ one finds a few pieces with the support of the prepared piano, but this time the singing is clearly in the foreground. Like this, the whole vibe of the record changes: „I'd say the last record was way more a city record“ referring to the by then used techno-elements, for example, „and the new one is a record for the countryside.“, especially inspired by Arthur Russell's most intimate album „World Of Echo“. On this record the composer who rose to cult status in the past years leaves the disco era behind him and presents a fragile artist using voice, cello and a lot of reverb only: „A song like „So Called Lover“ mainly emerged from Arthur Russell listening sessions“, Kasar tells full of admiration for the musician who died of AIDS in 1992.

Other role models are surprising as well as comprehensible: „I like singers like the early Manfred Krug a lot, this warm and tender voice – of course, in German, but the way he sang – or Japan's singer David Sylvian, those were the things I acted on. Much songwriting-inspiration came from Wilco, Nick Drake, Aimée Mann or also Bill Callahan.

But how Kasar came to the definition „countryside record“ is a story of its own: „It is way more singing this time, that's a huge leap, it's much less electronics and there's more space. It's less town and much more landscape and for me it really is this countryside record. „Jungholz“ for example is the name of a village in the southern Black Forest, „Ödland“ is the name of the highest mountain in that area and „Ein Engel Verschwand“ is an adaptation of another village's name there called „Engelschwand“. „So Called Lover“ takes place in „a shady town in the shore“, which in a way is a reference to the Rhine, which could be the mentioned river, and this „whipping willow“, all these are things coming out of my memories, since I originate from that area. It's not autobiographic but I simply imagined how it was back then, sitting under the willow by the river. Partly I recorded the songs right there: „Ein Engel Verschwand“, „Jungholz“ and „Ödland“ and nearly all playbacks were recorded on the piano on which I practiced when I was a child. I always hated it to play this piano: a Hohner, awful sound, but once you used the felt pedal it got such an odd sound, really strange – that's not the sound of a great Steinway, but small and odd.“ So all of this isn't supposed to be autobiographic but without all these experiences Kasar gained in the depths of the southern Black Forest, „Walk On“ probably would never have come into being.

The song that gave the album its title was the first Kasar had written for „Walk On“, right after the release of his debut record. At this stage the theatre art graduate was in a downright stream of composing. Many songs were quickly outlined, however he took ages to get to the finished product. The production phase lasted – with interruptions – from spring 2012 to fall 2013. And since February this year the record is waiting to be thrown onto the market, but haste makes waste. Songs like those you find on „Walk On“, where the piano sounds like raindrops rolling down the scale, while there's an electronic tempest in the background („Ödland“), or which are so fragile they bring tears to your eyes („Care“) simply have to be released in the dying season.

But who thinks that everything on this album is melancholic and sad is proven wrong by „Dawning“, which isn't at all like the rest of the LP: with a jagged new wave beat, a sexy 80s sounding sax and an optimistic chorus, Kasar also shows his up-tempo side and gives some unmissable signs towards radio airplay.

A whole lot slower is the collaboration with long-time friend Lisa Bassenge, singer of Nu Jazz outfit Micatone and Kasar's colleague at Nylon. Together they sing the hypnotic „Dance To The Mallet“, which starts off jazzy, but also offers itself – with its electronic substructure – as a huge playground for remixers. However, the way this liaison came up is rather unspectacular: „One time we went out for dinner and I told her about the album I was working on and there she immediately offered her help if I needed some. So a few months later I called her and played the song to her and she instantly liked it. She wrote the lyrics to it and then we quickly recorded it in one take. Her musical director Paul Kleber is also involved in the song „You“ and Sebastian Borkowski from Jazzanova plays sax in another song. So it's sort of all around the Sonar Kollektiv and Micatone”. It stays all in the family.

www.kasarmusic.de | www.sonarkollektiv.com

Walk On

Oedland

iTunes

Kasar - Oedland

this song makes me feel like i'm in a hot tub with the taste of vodka in my mouth

sydney's kidney

You can PRE-ORDER this release on Ltd. Vinyl or Digital Download via Erased Tapes:
http://erasedtapes.com/store/index/ERATP039

And the CD edition from our Japanese friends at Cote Labo:
http://www.cotelabo.com/discography.html



Nils Oliver Frahm + Peter Ray Broderick = Oliveray.

Being musical companions and label mates for years, it was just a matter of time until modern contemporaries Peter Broderick and Nils Frahm would start their first standalone project together.

Oliveray was born in their shared home city of Berlin and will see its debut release Wonders – a nice little collection of eight musical pieces – available on Vinyl/Digital via Erased Tapes and on CD via Japanese friends Cote Labo from December 12th, 2011.


Say hello to Oliveray!
Blog post by Peter Broderick:

I am super excited to announce the debut release from a project very dear to me!
Oliveray consists of me, Peter Ray Broderick, and one of my greatest friends in the world, the incredible musician / producer Nils Oliver Frahm. We’ve been collaborating in many ways these past couple years and traveling a lot together. Now finally we have arrived with our first truly 50/50 collaboration effort entitled Wonders.
It all started when I was asked to create a cover version for my great friends Efterklang. I asked Nils if he’d like to work with me on the project. So one day we got together in his studio and ran through the song (Harmonics) a couple times and then laid it down to tape in the most relaxed way possible – me playing the guitar and singing and him on the piano… We were both really happy and inspired with how easy and fun this process was. We thought you could hear and feel that relaxed atmosphere in the song.
So when our Japanese friends Cote Labo asked us to prepare some kind of release for our Japan tour, me and Nils set aside a couple days to record some music in a similar manner. Without much preconception we just set up the mics and started recording, with an aim to create a short album of half instrumentals, half vocal-based songs. We ran through a few fresh musical ideas that each of us had, improvising along with each other, sometimes just improvising entirely. And before we new it we had a nice little collection of eight intimate pieces of music.
The first official output of what will hopefully be a lifelong collaboration, Wonders feels really special to me. Here comes Oliveray!


TRACK LISTING: 01. Growing Waterwings 02. The Book She Wrote And In The Time 03. Piano In The Pond! 04. Harmonics 05. Hiding Hydiration 06. You Don't Love 07. Just Resign 08. Dreamer


OFFICIAL WEBSITES:   
      
PETERBRODERICK.NET
NILSFRAHM.DE
ERASEDTAPES.COM     

Wonders

Oliveray - Harmonics

'Inside The White Whale' is Microclimate bonus track
www.porcelainraft.bandcamp.com

'Inside The White Whale'

Strange to see you here 
You kept your words you reached the door that leads
To the basement of my brain, where memories have shapes so perfect
They will leave you blind

Bleeding noses and ghosts coming from below
Dictionaries of languages I've never...
Never heard before
I'm calling you from inside the White Whale
The pavement swallows everything around her
And your name came to my mind
Is it true what they say about you, that you never let it go
Do you really have to go...

Stage, no matter where you hide
They will chase you down, these nightmares you are having 
are they gone?
She, she's more than you can see
From this little cage my friend...
So little we know

Bleeding noses and ghosts coming from below
Dictionaries of languages I've never...
Never heard before
I'm calling you from inside the White Whale
The pavement swallows everything around her
And your name came to my mind
Is it true what they say about you, that you never let it go
Do you really have to go?

Inside The White Whale

Russian Ballerina

This is the first of a three song triptych written in a friend’s cabin upstate.  I took myself on an eight day self created residency with some gear, big speakers, my dog and a commission deadline.  I lost myself there, listened to so much music loud in the house, David Bowie felt like a visitor on the day of the big eclipse.  I listened to old country, and to soul music.  I started a playlist called “For now, Forever” which became a bible over the course of making the record.  I needed a sonic home to rest in when i’d gone too deeply into my own rooms of making.  I read in a camping hammock out by the pond in the woods each day.  I tried to meditate.  There was no such thing as silence.  I was in the company of gods — mortals who make things with their hands and bodies and voices, Immortals who know how to live and die in a harmony like breathing.  The woods spoke to me each night when the bugs turned out, giving over to their desires, just like they should.  I wrote.  I cleansed myself in baptism of song each day.  And each day the wildness I’ve learned to quell made its way up through my belly, into my chest, my throat pressed.  And each day I encountered a form of friendship with all those who had been artists before me, all reaching out to touch this thing we don’t name unless we call it god.  You heard the cry and you want to cry back.   The “friends” are artists and what they’ve made…  it’s just there for us.

Stay Up

Awakening

The Coral Sea is the music project and moniker of singer songwriter Rey Villalobos. 

FULL DISCOGRAPHY ON BANDCAMP OR SPOTIFY APPLE ETC...

A Los Angeles native, Villalobos’ family originates from two different sides of the globe, México and Italy. Early on he fell in love with the Chopin nocturnes while taking classical piano lessons and still considers the nocturnes an influence today. Starting out as a drummer, Villalobos next began writing and singing and emerged with debut album “Volcano and Heart” and The Coral Sea project. 

Mastering fragile romantic nostalgia, Villalobos' music presents an intimate portrait of hauntingly sentimental and unreserved songs echoing from another era. 

New releases slated for 2022. 

“The wind that animates the music of Rey Villalobos seems to come from another time.” - Liberation

“imagine a duet Nick Cave / Mazzy Star” - Les inRocks

“so strikingly magnetic is down to the exhaustive power that sits at the heart - Gold Flake Paint

“the most magnetic and evocative song upon first listens” - Nialler 9

“Rey Villalobos shows that it only takes one guitar and one person to produce some of the most beautiful music.“- The 405

“falsettos could carry similarities to Ariel Pink or Devendra Banhart, but he softens each lyric more than they do, turning a pop ballad into a hopeful Keaton Henson song.” - Consequence of Sound

“The songwriting is very strong, cinematic even. Rey has a knack for mise-en-scène - one that’s romantic and shot like a French New Wave Film.”  - YVYNYL

“songs that crawl up your spine and stay on your mind for  days afterward. It’s atmosphere with a heavy center due to Rey Villalobos’ nearly in-tears vocals” -iTunes Indie spotlight newsletter 

“The soft, sustained chord on the piano echoes the ghost of Debussy, the simple-yet-perfect chord progression that unwaveringly touches the heart, and the ethereal, tender voice singing songs of love and of sorrow—this is the magical and singular sound of Rey Villalobos”.

Your Feathers Up

The Coral Sea

Related tracks