Blessed life

Amber Whisper

It's Okay To Breakdown

A1 - Ronald Langestraat - Then and forever (3:31)

Tracklist:
A1. Variatio Ad Absurdum
A2. Spazio Domani
A3. Per Noi
A4. Caos E Dialogo
B1. Dalle Alle
B2. Materiale
B3. Area
B4. Mise En Abyme

https://www.juno.co.uk/products/lamusa-ii-vago-libero/698439-01/

Lamusa II - Vago Libero [GRA009]

People Plus - "Olympus Mons" 
A song from a new EP from People Plus 
Out October 5th on Vinyl 12" and Digital 
incienso.nyc

People Plus are CZ Wang and Joli B., signalling from a studio and or Hut in some remote location. Their debut EP consists of three trips into time in just as many styles.

Side A belongs to “Olympus Mons”, a song as big as the mountain its named from. Snake charmer synth lines and vocal roars backed by the baddest rhythm section in a while… wait for the solo! The B side holds “Work It Out”, with broken 4-off-the-floor drumz and revving echo effects. Taking the coveted B1 spot is the always dancefloor smashing “Second Cycle” - A verified banger that opens up with ground shaking acidish filter bubbles, and closes somewhere way up above the clouds.

People Plus - Olympus Mons [INC-003]

Precipitation - Deep Sleep

Library-style ambient with a maritime theme from the pairing of Wilson Tanner, AKA Andras and Eleventeen Eston.

‘II’ is out July 5th on Efficient Space.

Pre-order: bit.ly/2KYNlwg

@andraaaaaas
@eleventeeneston
@efficientspace

Premiere: Wilson Tanner - Loch and Key [Efficient Space]

DC Promo Tracks #632: "Mosaic" by Troth is part of the release "Flaws In The Glass" on ALTERED STATES TAPES @altered-states-tapes  

Buy Now:  https://alteredtapedstates.bandcamp.com/album/flaws-in-the-glass 

https://www.firesticks.org.au
(indigenous fire management and knowledge resource)

https://www.wires.org.au
(animal rescue, rehabilitation and conservation)

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DC Promo Tracks #632: Troth "Mosaic"

For our 25th release, we'll be revisiting the work of singular Japanese musician Minoru ‘Hoodoo’ Fushimi. In 1983, a young Minoru was working from his home studio in Japan’s Kanagawa prefecture and determined his first release would be an ode to Japan’s musical heritage. Minoru had noticed the younger generation become increasingly disillusioned with traditional Enka songs and decided to breathe new life into the sentimental ballads of old. The multi-talented artist laid down the beat using a TR-606 and played all the additional instruments himself. 

The resulting tracks are two mutations from the energetic style of the originals into much darker and abstract versions, albeit managing to maintain the passion and spirit of the Enka genre. Minoru utilised a number of vocal distortions to honour the original vibrato singing style, executing the tracks in a way that was more of a mesh between early punk squelching of the late 70’s and Troutman’s funk-fuelled voice-box of the early 80’s. In true Minoru style, his vision overshadowed the accessibility and ironically the tracks fell short of their appeal to the younger generation he was aiming to inspire, yet resulted in two timeless renditions.

Minoru Fushimi - Hone Made Aishite (Love Me To The Bone)

Frozen in time over four decades this 1984 “cyclic incantation” combines electroacoustics, grazed euphoria, industrial aesthetics, sampled salvage and recycled mechanic folk to score a widely revered dystopian physical theatre performance from the UK’s hugely influential Impact Theatre Co-Operative. From a seminal post-punk art-action faction (formed in a Leeds warehouse space alongside Gang Of Four and The Mekons), this apocalyptic prophecy not only cracked avant-garde stage boundaries but provided a captive audience with stunning set design and an incredible broken-music soundtrack before its swan song amidst Poland’s 1986 power plant panic. From the sonic workbench of the very same bedsit-Situationists that created the haunting 1983 music to The Moomins TV animation comes the eventual isolated music release to this pioneering theatrical spectacle of truly mythical status.

The Carrier Frequency (1984) was a legendary stage work that emerged from the collaboration between the influential performance company Impact Theatre Co-Operative and cult novelist Russel Hoban. The incantation of Hoban’s text voiced in the broken verbiage of a post-apocalyptic broken language and the entranced physicality of Impact’s ritualistic performance in a pool of cold dark water printed deeply on those who witnessed it. It reached an impassioned crescendo on the rising score by Graeme Miller and Steve Shill who also performed in the work. The music exploited samples from Hoban’s own recordings of the shortwave radio broadcasts which he tuned in as he wrote, helping him order the green phosphorescent letters on the screen of his Apple computer. Shill and Miller mirrored Hoban’s channelling in their approach to making the score, following the notion that this was the broadcast of some Central Eurasian radio station doomed forever to circulate fragments of static interlaced with desultory public information broadcasts and “The Record”, its only surviving fragment of a lost culture. The score was forged on an 8-track tape recorder sandwiching harmonium and accordion with the output of a digital delay machine that could trap and fragments of audio to be triggered and manually pitched. It is a knowingly crude montage where samples denote fragmentation itself and their reassembly, like Frankenstein’s monster, shows the stitches that join the stolen body parts.

More info: https://smarturl.it/thecarrierfrequency

The Carrier Frequency

Graeme Miller & Steve Shill - A Long Paleness

Tapping into the most vital

@noodsradio 3-4pm BST every 2nd Friday of the month

Premiere: Wilson Tanner - Loch and Key [Efficient Space]

If-Only