I just will try... https://soundcloud.com/michke-creator-studio/14-bach-in-the-sky

I am very late to this party... but this is such an amazing piece!

Great track, I forgot that I listened to this track quite some time ago

You develop the subtle hans zimmer style bass press in the mix that adds a weight to the sound. 

DUNGEON ACID "LIVE AT FYLKINGEN" Cassette released on iDEAL Recordings in 100 copies. Recorded at Fylkingen, Stockholm on March 20th 2010.

DUNGEON ACID - LIVE AT FYLKINGEN

Someone promised to wait.
To wait beyond.
Beyond the hourglasses and the mounds of swollen flesh.
Beyond the cuneiform codices, the spiral labyrinths, the bone flutes of extinct birds.
Past the pyramids of time and the colossal granite dolmens slumbering beneath Antarctic glaciers.
But no one came back.

The song is the lament of those who still hope to say goodbye.
To say goodbye fiercely—with their eyes, with their hands, with everything that exists beyond the body.
To part with such violence that reality thins, and the blazing ground of grass takes on the texture of dragonfly wings.
The voice of the one still waiting calls out, demands, roars through the wound that a heavy slab carved with the word “LOVE” can barely cauterize.
The slab of a forgotten grave, in a windswept cemetery on the Atlantic coast.
At the edge of a cliff where—warmed by magma beating to the phases of the moon—earth, ocean, and sky fuse together: into amber, into lead, into cobalt.

When those who wait begin to sing, their voices pierce the unyielding concrete of nuclear reactors, the crust of the earth, the frozen core of the gas giants in the solar system.
Their voices rattle dead loudspeakers, tear through the white noise of radios lost in the ether, whisper in the echoes of abandoned cathedrals, and sigh in crackling exhaustion through the worn-out waiting rooms of hospitals.

You can’t stop their voices from rearing up inside your eardrum, nesting forever in the synapses of your auditory nerve—so you can carry them far.
Perhaps all the way to the one who never received the goodbye.

Pictures: Lht
----
Alguien prometió esperar. Esperar más allà. Más allá de los relojes de arena y de los montículos de carne tumefacta. Más allá de los códices cuneiformes, de los laberintos en espiral, de las flautas de hueso de pájaros extintos. Allende las pirámides del tiempo y los colosales dólmenes de granito que dormitan bajo glaciares antárticos. Pero nadie volvió.

La canción es el lamento de los que esperan poder despedirse. Despedirse intensamente. Con los ojos, con las manos, con todo lo que hay más allá del cuerpo, despedirse con tal violencia que la realidad se adelgace y el suelo fulgurante de hierba adquiera consistencia de alas de libélula. La voz de quien aún espera reclama, inquiere, brama a través de la herida que una pesada losa con la palabra "AMOR" apenas logra cauterizar. La losa de una tumba olvidada, en un remoto cementerio azotado por el viento del Atlántico. Al borde de un acantilado donde, calentados por un magma que late siguiendo las fases de la luna, tierra, océano y cielo se fusionan; en ámbar, en plomo, en cobalto.

Cuando cantan los que esperan, sus voces atraviesan el hormigón implacable de los reactores nucleares, la corteza de la tierra, el núcleo congelado de los gigantes gaseosos del sistema solar. Sus voces sacuden altavoces desconectados, rasgan el ruido blanco de las radios perdidas en el éter, susurran en las reverberaciones de catedrales abandonadas, y suspiran crepitantes en las extenuadas salas de espera de los hospitales.

No puedes evitar que sus voces se te enjirafen al tímpano y aniden eternamente en las sinapsis de tu nervio auditivo, para que las lleves bien lejos. Tal vez hasta quien no pudo recibir el adiós.

Llévame lejos

Mahan Mahan is responible for the orchestration and mix(coverart)
TexMex Shaman on electric guitar and Mastering(coverart)
the poem and voice by stonerjazz(coverart)
 
the nature of their being by jeff gardiner 

 ponder and ponder if you wanna
speculations bout meanings and measures and structure
of time and the present
and yet it remains completely unknown
made no dent in the fabric
of monstrous illusion
collusion of unseen forces
nibbling away with whispers
while meekly we, perish, never knowing
what we're feeding
believers believing bleeding rivers of remorse
and of course, the horses don;t ponder for a moment
the nature of their being--

The Nature of their Being-with TexMex Shaman and Mahan💀Mahan

Computer Data Discharge

method: all the sounds you hear, apart from the voice, stem from a piano that is more than moderately out of tune, most of them morphed by audacity and samplitude
image: copyright jo richter

wunderbar geborgen / copyright jo richter

am wunderstumpfen ende
einer zweispur-einbahnstraße
senkt sich eines planers wendeplatte
zwischen steile bordsteingrate
in deren runden schenkels wölbung
die allerletzte eiderente ein
einzelei ausbrütet - solch memento
prospektiver nostalgie lädt
karrussellgenau zum grübelkreisen
ein, zum rasend innehalten

wunderbar geborgen

Edge of Town (Remix)

Song from the rock opera Five Thousand Sasquatch

The Phenomena Of Triangulation

Ken (K2 and the Three) asked if I could remix this Eclectic Collective song from last year. I tried to bring out the individual performances more and added the rather lovely J.J. keyboards ambient intro. Hope you enjoy 😎

Happy Ever After - Llanpsych mix

An atonal, twelve-tone composition, taking some inspiration from the Webern approach to atonal music and just making it very compact. To me that approach legitimately does make the atonal "sound" easier to digest. Bite-sized pieces. Hope you enjoy!

Verde

24 6 8

Underwater Bachelor

Stranger To You/Written,Performed by Uwe Lauterbach

Stranger To You (new version)

Neurotic Drum Band remix of Chris Carter's 1985 track 'Moonlight', taken from the forthcoming release on Optimo Music. Other tracks include a remastered original version and a brooding Oneohtrix Point Never remix.

Please note that the tracks aren't remixes but rather reinterpretations as there were no parts to work with and they had to start from scratch.

Available soon on Optimo Music, please visit http://www.facebook.com/pages/Optimo-Music/195709266632 for details.

Chris Carter -  Moonlight (NDB Remix)

Last piece on the upcoming POGROM - Electronic Music by Jan Svensson LP on iDEAL/UFO MONGO. Limited edition of 300 copies. White vinyl and b/w inlay. POGROM was recorded in 1990 in the excellent Studio Styrka in Johannishus, Sweden but abandoned for some reason. I think we planned to release it as a cassette. Jan Svensson is the man behind Börft Records, and is a member of the synth trio FRAK and psychedelic analogue drone duo Alvars Orkester. POGROM is released in December 2011. 

JAN SVENSSON/POGROM - HAPPENING

"Rough" - taken from the DIMITRIOS K untitled debut album on iDEAL (iDEAL094)!!! Dimitrios K is a legendary techno dj based in Gothenburg, Sweden and the man behind a line of classic dance clubs from the mid '90s till now. He is a man breathing deep electronic rhythm rituals. The LP is pressed in 500 copies only, on pitch black vinyl of course.

DIMITRIOS K - Rough

Disquiet Junto Project 0036: Still Life 

<i>The painter Clyfford Still (1904-1980) was one of the great practitioners of abstract expressionism. The Clyfford Still Museum in Denver, Colorado, not only houses a wealth of his works, it also has on display artifacts from Still's daily life and practice, such as his smock, his old paint cans — and his record collection. These records, displayed behind glass, include pieces by Wagner, Mozart, Beethoven, and Bach, among others, and they're accompanied by a small note: "Clyfford Still was passionate about music, particularly classical music. Shown here are several samples from his record collection." In this week's project we're going to take that word "sample" literally. 

There's an interesting question inherent here about matters of aesthetic influence: how it is that the man who painted such massive and graphically evocative works was, in fact, listening to music far more figurative than the art he himself produced? The goal of this week's Disquiet Junto project is to take a shared sample of the sort of music that Still loved — a 78rpm recording of J.S. Bach's Brandenburg Concerto No. 2, II. Andante — and turn it into something that might be deserving of the term "abstract expressionism." 

So, the instructions for this week are as follows: 

Step 1. Please select part of the designated MP3 of J.S. Bach's Brandenburg Concerto No. 2, II. Andante.

 Step 2. Then transform that sample, through any methods you desire, into something that you feel meets the definition of "abstract expressionism" provided by the Clyfford Still Museum: "marked by abstract forms, expressive brushwork, and monumental scale." 

You cannot add any sounds to the sample, but you can manipulate the sample in any way you see fit.</i>
--------------------------------\

I looked at Still’s abstract work, alongside his earlier work, and I decided (conveniently for me) that he was doing with paint what I sometimes try to do with sound – going deep inside former works, digging out the hidden elements inside their representational exteriors… reaching into the fractal interior, if you like, trying to pull out and display on canvas the strange misery that is part of the human condition. One of his earlier works,  PH-79, struck me particularly. It is a grotesque Pieta, possibly inspired by the events of the Dustbowl, but presciently painted only four years before the outbreak of a war that would end with the revelations of the Death Camps and the generation of images that would change Art and Society forever.

Adolf Busch, whose Chamber Players recorded the piece we are using, was so revolted by the rise of Nazism that he left Germany in 1927 for Switzerland, migrating to the USA when WW2 erupted.

I chose the last twenty seconds of Bach’s moving piece to work with. More ambitious than usual, I wanted to recreate the almost unbearably sad mood of Samuel Barber’s haunting Adagio For Strings, so I stretched the sample using four different methods and tonalities and mixed them together. I then fed the sample into ambient v.3, rode the delay controls as carefully as I could and cut up the resulting track, rearranging it to suit the dynamics of the 8+ minute ambient version that the stretching and mixing had produced. I then interpolated the original sample, with its wonderful aged and shellac-surfaced ambience, near each end of the piece.

This track is a transformation, in honor of painter Clyfford Still, of a sample of J.S. Bach's Brandenburg Concerto No. 2, II. Andante, culled from this recording:

http://archive.org/details/J.S.BachBrandenburgConcertoNo2 ;

More on the Clyfford Still Museum at clyffordstillmuseum.org.

More on this 36th Disquiet Junto project at:

http://disquiet.com/2012/09/06/disquiet0036-cstillconcerto/ ;

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/info


Andante [disquiet0036-cstillconcerto]

UK creatives should listen to this: https://www.youtube.com/watch?v=yK4wBWiozyM

You must hear this: https://vimeo.com/52766051

*****

Ed Brunsden was kind and patient enough to interview me for  his blog Desert... Mountain... Dust...  - you can read it at https://desertmountaindust.blogspot.com.au/2017/02/tuonela-primitive-progressive.html

After silence, that which comes nearest to expressing the inexpressible is music. ~ Aldous Huxley

All good music resembles something. Good music stirs by its mysterious resemblance to the objects and feelings which motivated it. ~ Jean Cocteau

All music is beautiful. ~ Billy Strayhorn
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I've become addicted to drone. Again. I was the kid with his head on the piano, listening to the overtones die away, or pressing his ear to the steel hull of the ferry, enthralled by the sounds it created. I was the kid who formed wordless songs to accompany the sound of train wheels on a long journey, or hummed along with the fan on a hot day.

In the 60s I used to play my 45s on 16, or backwards, or by hand using razor blades as stylii.

I made cut-up tapes on a cheap cassette recorder in the 70s and experimented with reel-to-reel in the 80s. 

Thank you Subotnick, Lygeti, Coltrane, Jimi, Mimaroglu, Eno, Cluster, Tangerine Dream, Klaus Schulze, Frank Zappa, Pink Floyd, Kraftwerk, Throbbing Gristle...

I am not a musician. I am a scavenger of sounds. I use the most basic software to process those sounds, stretching and filtering until something emerges that makes a joyful noise. Or not...

Andante [disquiet0036-cstillconcerto]

Tuonela

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