Lars Danielsson

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

This album is also part of Lost Tribe Sound's Salt & Gravity Series:
https://losttribesound.bandcamp.com/album/salt-and-gravity-series

Last year in and out of lockdown, Dupé made an album about his great-aunt Margaret, who spent her entire adult life in service at Abbotsford Convent. Margaret’s life story was both ordinary, and even more so in hindsight extraordinary. She lived a life that would be considered extreme today… a life without freedom. Reflecting upon her life proved to be humble, emotional, and fertile ground for 21st-century perspective whilst exploring narrative and biography through music.

While the music serves as most uninhibited expression of Margaret’s story, these writings from Dupé help provide further insight into Margaret’s life: 

Margaret was my grandmother’s sister, I didn’t know my grandmother but I met Margaret several times as a child. We would drive all day from Canberra to Melbourne from before light to after, to spend time with our relatives since both my parents were born and raised there.

Visiting this diminutive elderly woman with white hair in a bun and black habit and large crucifix was a strange procedure since she was clearly a prisoner in this convent. With both of her parents dead, her sisters put her into Abbotsford Convent as a grieving nineteen year old unwed mother.

A nun would sit at our table listening to the conversation to remind us all of that fact. Margaret was a “bad girl” and as such had been kept away from the children and reforming girls that were also in the convent. She existed within this small village of impounded women, day by day through two world wars, Vietnam and the death of her entire family. She slept in a dormitory, rose at five for prayers, worked in a laundry all day and had only one possession, a secret radio to listen to the races and footy. Her dormitory was in a building within a grey concrete courtyard which was gated and had one tree within it whilst restricted beautiful grounds lay all around.

As a teenager, Margaret was working for a married farmer in the western districts and had fallen pregnant to him (I don’t know if it was consensual) and had a child which she named Eileen after her favourite sister. The child was taken away and when she had another child a year later with the same man, she also called her Eileen (probably believing the first child had died). The first Eileen lived and went into the world equally oblivious to her mother’s plight and the second Eileen died after birth and was quietly buried in a suburb in Melbourne where Margaret would be buried 65 years later.

When she arrived at the convent, Margaret was given a new name and the gate closed behind her for the rest of her life. My father loved this wiry rebel (named Jock by him for her jockey-like stature) who lived both a hard and a sheltered life. Researching and reflecting on Margaret’s life made me deeply consider gender, class, compassion and the Catholic Church as connected to my family and more broadly. The archives from the convent where she lived for over six decades provided no trace of her existence except for a record of being slightly ill twice in the 1960s… no photographs, no accounts of any activities or interests.

Margaret Hammett Lived

I had a friend

Tony Dupé - I Had A Friend (from Margaret Hammett Lived)

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

This album is also part of Lost Tribe Sound's Salt & Gravity Series:
https://losttribesound.bandcamp.com/album/salt-and-gravity-series

‘Ceremony’ is the second album from Slovakian composer Lukáš Bulko, who records under the name Alapastel. Bulko’s 2018 debut album ‘Hidden for the Eyes’ for James Murray’s Slowcraft was met with praise from critics and fans alike. Much like ‘Hidden for the Eyes’, the new album ‘Ceremony’ provides no easy comparisons.

Lost Tribe Sound was introduced to Alapastel by composer William Ryan Fritch in early 2021. Immediately upon listening to the demo it became clear that ‘Ceremony’ was unlike any album we’d heard before.  It’s an album built from mammoth sound objects, carved from organic sources, that feel so palpable that one could reach out and touch them. Often spanning ten + minutes, these expansive compositions are crafted with such intent and intricate detail that they never overstay their welcome.

There’s a purity and a gentleness to Bulko’s musical voice that speaks of connection, mending, of building a better existence. Subjects that are often swallowed up by the noise, the cruelty, and lack of compassion found in modern society… written off as idealistic or naive. Bulko describes the intention of ‘Ceremony’ is to facilitate a transformative experience. Much of ‘Ceremony’ was written to highlight his interest in Indigenous Peoples ability to survive using sustainable methods passed down over thousands of years, making use of techniques that helped to conserve biodiversity for future generations. Bulko’s work with Fairtrade International has nurtured this connection and belief that adopting these ancient practices is the key to continued life on this planet.

cover art by Silvia Bobeková Art

Ceremony

Releaseness

Alapastel - Releaseness (from Ceremony)

Lars Danielsson - Pegasus -/Tarantella (2009)/

John Zorn - Dance Exotique

Buy on iTunes

Texitorial - Nick Wales & Sarah Blasko

Nik Bärtsch – Universal Rhythms

Track 7 from the ambient album 'This is soon too late'.
FDL#05.

Support independent music?
www.federleicht.be
https://federleicht.bandcamp.com/album/this-is-soon-too-late

Herbstlaub - 07 You Don't Have To Be This Way (FDL#05, 2016)

Abi Wade is a musician based in Brighton, UK. A Musical collaboration between limbs, strings and vocal chords. Her music is seemingly and seamlessly sewn together, each beat, melody and bass line put exactly in its place, to create songs that pull the heart strings and a performance that will beguile and intrigue.

So far she has toured the UK & Europe with Patrick Wolf, played festivals such as End of The Road, The Great Escape and Wilderness, sold out her debut EP, released music on the label set up by Esben & The Witch’s Daniel Copeman, with whom she also records with and played shows with the likes of CocoRosie, Dan Mangan, Other Lives & Deptford Goth. Her music has also been used on MTV series ‘Awkward’ and Cinemax series ‘Banshee’.

Green Youth Great Plans

Pre-order 'All Together Again' on LP/CD/DL: phonofile.link/all-together-again

There is no end to composer Peter Broderick’s creative output, and so we present to you his new album titled 'All Together Again' — available worldwide on November 17th 2017 via Erased Tapes.

Words from Peter, October 2017:

"Ever since I started releasing records in 2007 (10 years ago now!), people have contacted me periodically to ask if I’d be interested in making music to accompany their projects. Most of these projects have been things like films, dance pieces and theatre plays . . . but every so often I get the odd request for something a little different. Peter, would you write a song for my wedding? My one year anniversary? A ferry boat ride?

In early 2015 I was asked to perform 12 minutes of music during a runway show as part of New York Fashion Week. I agreed and began composing a 12-minute piece which I could perform on my own with a few different instruments and some looping pedals. I made a recording of the piece and sent it over to my contacts at the fashion show . . . but a few days before I was to fly out to New York, they wrote back and told me they actually just wanted me to play a few older songs that they were already familiar with. Feeling slightly disappointed, I shelved the other piece, giving it the title If I Were A Runway Model.

It is with great pleasure that I now present this piece in a collection of commissioned works spanning the last decade . . . it’s All Together Again. This group of oddball works does indeed include a couple pieces written for weddings (Our Future In Wedlock and The Walk), and a song someone asked me to write as a gift for his wife on their first year wedding anniversary (Emily). And indeed, there’s a 17-minute piece written to accompany a ferry boat ride in Istanbul (A Ride On The Bosphorus). A few of the pieces were written for films (Robbie’s Song, Atlantic and Seeing Things), and one for a kind of interactive installation (Unsung Heroes).

In my early days of recording, I took pride in playing all the different instruments myself and doing the recording myself as well. And then at some point I started branching out, working with other musicians and recording engineers. But this record is very dear to me in that it’s a return to that original approach . . . playing all the different instruments myself, working with my limits on each one, and my own limits in recording and mixing. I’ve always held a broad curiosity for all different instruments and all different styles of music, and if nothing else I hope this record will portray that curiosity, and my pure love for this thing we call music. Can you dig it?"

The cover art was made by Peter himself in his hometown of Portland, Oregon, by cutting and sticking different coloured paper fragments to depict the individuality of each track.

TRACK LISTING

1. If I Were A Runway Model
2. Robbie’s Song
3. A Ride On The Bosphorus
4. Emily
5. Our Future In Wedlock	
6. The Walk
7. Atlantic 
8. Seeing Things
9. Unsung Heroes

WEBSITE: www.peterbroderick.net

All Together Again

Peter Broderick - Robbie's Song

Modul 47

All instruments recorded by Peter Juul Kristensen. Mixed by Lars Nilsson.

lars danielsson-party on the planet

tultytuuu!!!!

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