Aeroport 2 Autoroute

Courtship call of the male striped cusk-eel, Ophidion marginatum, recorded by Dr. Rodney Rountree on Cape Cod, MA

Please consider donating at Http://www.fishecology.org to support Dr. Rountree research

Love song of the cusk eel

FIREMAX presents Bleu du Vide Éternel (2025 Edit) — a refined version of Eternal Blue Emptiness.
A soundscape where silence expands into infinity, painted in shades of eternal blue.

A fragile blue planet drifts through the void, suspended in silent space.
A single, slow melody anchors the bass, while luminous chords shimmer like distant memories, evoking innocence and wonder.
Sandstorm-like textures blur the edges of perception, suffusing the music with an uncanny unearthliness.

Without drums, time dissolves — the listener floats through vast emptiness, where solitude and fragile beauty intertwine.
A shorter edition, yet the same vast odyssey — an exploration of emptiness, memory, and the delicate, luminous fabric of our world.

Also known as Eternal Blue Emptiness, this piece continues the FireMax path:
🌙 Prayer to the Moon
🌌 Voyage
❌ Unsaid / NOT

Bleu du Vide Éternel (2025 Edit)

full track from my video of the same name.

full video available at : https://www.youtube.com/watch?v=hnb29CydkIE

jez spirit - taking a motif and building a track

This is the first show of Animal Collective's new string of live shows showcasing new music, along with a couple of old fan favorites, some having not been played for 10 or more years.

This specific recording is actually a mix of 2 different boots that I mixed together, since one was too bassey, and the other one was too tinny. So together they have the perfect mix of Depth and Detail.

Concept and file allocation: Greg Phipps
Editing and Mixing: Max Levinton

TRACK LIST
Banshee Beat 0:00:00
Cherokee (Live debut) 0:10:54
24 (Live debut) 0:17:47
Kings (Live debut) 0:24:20
In the Flowers 0:29:13
Strangers (Live debut) 0:36:30
Defeat (A Not Suite) 0:39:40
No More Runnin 1:03:05
Pulleys 1:08:27
Gem and I (Live debut) 1:15:57
Grass 1:19:38
ENCORE
DownDownDownDown 1:25:35
Bolder (Live debut)1:32:15

Animal Collective Live at Cain's Ballroom - Tulsa, Oklahoma, Oct-7-2019

Saint Paul 

Born out of recordings from my time working at Saint Paul's Cathedral, this one focuses on the organ and how it fills the space. The accompanying drawing was also sketched from the same sitting, after opening my eyes.

Listen with headphones or play back into large space for optimum sound. Injoy

Saint Paul

Potential Energy

OUT NOW
https://cosmic-compositions.bandcamp.com/album/bio-designer

Bio Designer

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Cynthia - U R NEVA ALONE

"The four pieces across the two sides of Saxophone Solos – Aerobatics 1 to 4 – are testing, pressured, bronchial spectaculars of innovation and invention and determination. Evan tells four stories of exploration and imagination without much obvious precedent. Abstract Beckettian cliff-hanging detection/logic/magic/mystery. The conic vessel of the soprano saxophone here recorded contains the ur-protagonists: seeds, characters, settings, forces, conflicts, motions, for new ideas, to delve, to tap and to draw from it story after story as he has on solo record after record for 45 years. ‘Aerobatics 1-3’ were recorded on 17 June 1975, by Martin Davidson at Parker’s first solo performance. This took place at London’s Unity Theatre in Camden. ‘Aerobatics 4’ was recorded on 9 September the same year, by Jost Gebers in the then FMP studio in Charlottenburg, Berlin. Music of balance and gravity, fulcra, effort, poise and enquiry. Sounds thrown and shaken into and out of air, metal and wood. It is – as the titles suggest – spectacular." - Seymour Wright, 2020

ROKURE010 Evan Parker - Saxophone Solos "Aerobatics 4"

Originally recorded and released in 1980, "Six of One" beautifully captures the detail in Evan Parker's high frequency split tones for which he is now perhaps better known. Five years on from "Saxophone Solos" and with circular breathing and polyphonics well worn into his live performances, Parker's experimentations here produce sustained passages of brilliant flight. Set into the echoes and resonances of a St Judes On The Hill church, the results are stunning. 

"The recital commences with a split tone line of twining sine waves that expand and contract in telepathic collusion. Pitch dynamics narrow and redefine themselves more emphatically on the second piece where sliding legato rivulets born of Parker’s compartmentalized tonguing create the sonic semblance of up to three separate voices emanating from the single reed speech center. It’s a feat he’s accomplished innumerable times since, but every fresh hearing never fails to open an aperture into a style of improvisatory expression that is at once wholly alien and intensely mesmerizing. There’s also something strangely subterranean about the flood of sounds, like the rush percolating water through an underground aquifer system enroute to unknown tributaries. The third piece trades tightly braided tones for leaner and more linear phrases, but a vaporous trail of phantom notes still clings to the central line. And so it goes, with the illusion of repetition guiding the momentum, though Parker never explicitly repeats himself." - Derek Taylor, All About Jazz

Transferred from the original master tapes and released in an edition of 500.

jez spirit - taking a motif and building a track

jez spirit

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