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Tidebound is a psychedelic folk solo-project from Copenhagen, Denmark, by Dave Müller.

Tidebound is a project firmly grounded in the concrete of Copenhagen, the soil that lies beneath and the waters that hold them in place. The hiatus of Black Wreath (funeral doom metal) and the otium of Chasing Eudaimonia / Eudaimonia Collective (psychedelic drone) has allowed Dave Müller to explore new musical directions. Unlike any other of Müller’s projects, Tidebound has its very roots in folk music, but the inspirations that paved the way for his other projects still shine through. These are songs of lost love and hope, distressful desolation, yearning for freedom and the acceptance of solitude; themes not uncommon to the folk genre, but the sometimes hazy vocals and the underlying psychedelic instrumentation give Tidebound a sound of its own. In other words: if Stephen Burch (The Great Park) and Townes Van Zandt went to the funeral of Jason Molina on their honeymoon and Aron was set to play at the wake, Tidebound would still be a psychedelic folk band from Copenhagen.

Müller has been active in the Danish underground music scene for years, but takes on the role of sole songwriter and vocalist for the first time, making Tidebound a highly personal project. The melodic nature of the songs and introspective lyrics evoke feelings that range somewhere between melancholy and pessimistic hopefulness. The instrumentation and vocals give the work an otherworldly feel, at times enhancing these moods to almost resemble mythological omens of impending doom or joyful reassurance of the possibility of finding salvation in the muddy waters of existence. Tidebound hereby raises the universal question that many of us ponder when the water refuses to thaw and the seasons refuse to change: what will be uncovered when the tides lay waste to the ocean and sweep the land: Atlantis or R’lyeh?

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*Want to remix one of my songs?
*Want to work on a collaboration? 
*Want to know the end of Citizen Kane?
Rosebud was his childhood sled the entire time.
 
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CONTACT: fritozanzibarmusic@gmail.com
(please have all your rabies and distemper shots before contacting me. I'll explain later.)

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Visit http://soundcloud.com/modern-primitiv 's Mixtape Station


~~~~Fun for the whole Atomic Family!~~~~

  Beware of Modern Primitiv's Alter Ego
       ogE retlA s'vitimirP nredoM fo eraweB


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An excerpt from the Essay:
MODERN PRIMITIV: MAN OR MYTH?

(as published in the Philosophical Transactions of the Royal Society Scientific Journal, 1912)

...Inter-Galactic Sheepherder and Anti-Social Activist who likes to bang pots and pans together in a semblance of what the humans call "music".. 

Born hundreds of years ago, Frito Zanzibar is the only true hope for lasting peace in these troubled times we live in.  

Is he animal, plant , mineral, or digital?  
No one truly knows for sure. 

Frito sails around international waters aboard his luxury steamliner made entirely of coconuts, making music and fighting pirates.

Obsessed with finding a potato chip shaped like Ernest Borgnine, Frito was once driven to edge of extinction due to his luxurious mane and the fact his testicles are highly sought after in certain Asian countries where they are believed to be an aphrodisiac.

Frito Zanzibar is the inventor of chocolate covered pillow cases. Very popular among overweight individuals who suffer from narcolepsy.

Listening to Modern Primitiv is like a wine tasting event, except with more nudity, giant robots, and everclear instead of wine.   

Moments before his 3rd death, Frito listened to some trap music and changed his name to Apple Juice Killa, and sold oregano to his homies. He was then hit by a runaway platypus and killed instantly an hour later. It was eventually deciphered by a team of the world's foremost scientists that much of the music was designed to be listened to while sippin’ cough syrup, spitting game and slanging hash. boo-ya-kah-shaw. 

LIKES: 
Puppies, Kittens, Long walks on the beach

DISLIKES: 
Long walks on the beach with land mines.



 ********** DISCLAIMER: ************

Caution!

 Modern Primitiv's "Music" is not to be listened to by people with weak heart condition, May cause your eyelids to become reversible, and there is potential for increased purple iris pigmentation which is likely to be permanent. Some people can have serious mental reactions while listening to Modern Primitiv, some of which can become life-threatening. 

Some people can have allergic reactions to Modern Primitiv, including : swelling of the face, mouth, and throat that can cause trouble breathing. 

Listening to Modern Primitiv's music can cure and/or cause some types of erectile dysfunction.  Also may cause/cure the debilitating and disappointing condition for women known as "banana tits"

There is a potential risk for hair growth to occur in areas where Modern Primitiv comes in repeated contact with skin surfaces.

 Some people have had changes in behavior, euphoria, hostility, agitation, peaceful thoughts, depressed mood, increased awareness of the plight of our fellowship of  mankind, suicidal thoughts or actions while listening to Modern Primitiv.

Listening to Modern Primitiv also may cause rainbow colored stools. 

If you, your family, or caregiver notice agitation, hostility, depression, or changes in behavior, thinking, or mood that are not typical for you, or you develop suicidal thoughts or actions, anxiety, panic, extreme hunger for a sandwich, aggression, anger at inanimate objects for making you lose your TV remote, Hulka-mania, Spring Fever, abnormal sensations on your elbows, inability to decide between chunky or creamy peanut butter, hallucinations, runny nose, paranoia, or confusion, stop listening to Modern Primitiv and call your doctor right away.

Please refer all occurrences of premature death due to listening to this music to the global law firm, Plutonium Inc.

есть много причин для тревоги, так как частоты вы слышите может содержать подсознательные сообщения

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ooOO MY RECORDING TECHNIQUES OOoo

i record everything on 8 track analog..then convert to cassette, then downmix to my VCR player, then i re-dub and spool through a reel to reel i bought off the internet from Lee "Scratch" Perry, then i project the image of the waveforms through a lava lamp onto a white sheet, then i have trained monkey newspaper reporters from the 40's with the hats that have the little white piece of paper that says "press" report the tonal variances to my AP wire, then it is distributed through a complex series of ropes and pullies up to press the image directly onto a 45 wax record so i can spin it at weddings and barmitzphas and rockin funerals. 

________GARMONBOZIA!!!________
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Kantyze  (Knockoutz & Feubo)

Duo hailing from France,also running the label m-Atome recordings.

Music on:                                
Basswerk / Celsius / Château Bruyant / Citrus/ Concussion/Digiicode/ Disturbed/ Dutty Audio / Evil Beats/ Expressillon/ Fokuz / Freak/ Influenza LTD / m-Atome/ Melting Pot / Mindtech/ Nerve/Phantom Hertz/ Platinium /Platform Music / Renegade Hardware / Shadybrain/ Sinuous/ SOM Music / Suspect Device / Trust In Music  / V.I.M. /...

Support : 
Laurent Garnier, C4C, Optiv, BTK, Raiden, Audio, The Sect, The Upbeats, State of Mind, Soul Intent, Dj Distance, London Electricity, June Miller & many more.                            

Bookings : 
kantyze@gmail.com

hellspawn succubus

pradius side project, check out my main work on my other account!

THE CABIN PROJECT     
KIRA SKOV/MARIE FISKER

The two singers / composers Kira Skov and Marie Fisker have joined forces in a new constellation named The Cabin Project.
As both well-established solo artists with each their own productions this new joint project is set for release spring 2014.
In the spring of 2013 they went to Canada's deep forests to isolate themselves in a cabin for 9 days with Oliver Hoiness (guitar) and Ned Ferm (sax). Here they recorded an album in collaboration with the legendary engineer and producer Mark Howard, best known for his 23 -year partnership with Daniel Lanois (Bob Dylan, Marianne Faithfull, Iggy Pop, Neil Young ...). The result is a deep, raw and soulful album. Roots of the classical songwriting like L. Cohen infused by playfulness and a unique futuristic dare.

¨ It has been a very wonderful and special adventure to make this record. Mark's recording methods and inspiration, the wild nature around us, our impulsive development in the process and exchange of ideas as well as the live performing ... it's been very intense, challenging and a wonderful experience! The maze of sometimes not being able to separate the two voices while recording worked as a very inspiring mirror and as a unifying melting pot! ¨

In 2007, Kira and Marie's appeared in a Danish national TV programe about Johnny Cash. Since then   the idea to one day record an album together was fostered. They both felt an obvious urge to explore the two voice potentials in tangling and incorporate a unit sound which seems to open up a completely different angle and direction. The guitarist / composer Oliver Hoiness has with his unique talent influenced the process and the overall universe of sound a great deal. Inspired by hip hop, free improvisation, African highlife to indie singer- song writer style he is fortunately hard to pin down as a musician with many colours. Ned Ferm (US) is another excellent soloist in the project. A multi-instrumentalist on flute, violin, keyboard, drums, etc. A musician with a very original character and nerve. Ned is a highly skilled Jazz musician as well as a bluegrass song writer and musician of free improvisation. 

See music video from Canada:
Read more on The Cabin Project Blog: http://mariefiskerkiraskov.tumblr.com/
See Kira & Marie performing on Johnny Cash tv program in 2007: http://www.youtube.com/watch?v=5KtsIXqJaME

MICHAEL (ELEWHALE) LYTLE (Composer) has a Master’s in Composition (electronic music) from the U. of Iowa and has been playing clarinet for 50 years. Well known as an Improvisor and called the “most radical of his generation” by Joachim Berendt, he invented a set of clarinet sonic modulation and performance born of not having access to an electronic music studio for a long period. A short list of his best collaborations have been with Will Parsons, Jon English, George Cartwright, David Moss, Karl Berger, Hans Burgener, Mark Howell, Nick Didkovsky, Gerry Hemingway and have included over 30 recordings.

A BIO

I learned fast. My piano teacher gave me all the method books at once, i.e. all the #1 books in the major methods, then all the #2 books, and so on, rapidly. She didn’t know what to do with me. I ate everything up. A five year old who loved all the gold and silver stars I could earn! Even then I enjoyed improvisation.

I'm from the small town of Springfield, Missouri (‘heart of the Ozarks’), in the 1950’s and early 60’s. Smallish, but we had a good music organization all the way through High School. (Basically the work of one very dedicated man yrs. ago. I'm quite grateful to him.) In 7th grade, I was ready to play an instrument, so I went to the music store. “I want to play the trumpet”, I said. “Well, young man, we already have a lot of trumpet players in Springfield. How about the flute?” “Ugh, that’s a sissy instrument isn’t it?” “Not really, but how about the clarinet, then?” “Ok.”

I had a great teacher in Roger Crosby. He was first chair in the Springfield Symphony, and he was a smart and good guy. Taught me to push with my diaphragm, open my sinuses; let the sound resonate around in my upper body. Why he was in Springfield, I’ll never know, but he was a composer also, of 12-tone music, as I discovered some years later. His scores were on the top shelf of his closet. Taught Jr. High School Music. Can you believe it? Of course he is gone now, sadly.

I continued improvising on piano in High School, kind of Debussy style. I loved getting carried away. When I got to the University of Wichita, (not a bad music school at all!) I went in wanting to be a conductor, a music historian, a composer and a clarinet player. However; being a professional musician was discouraged there. ‘It’s nice and all but not a way to make a living. You need to get an educational degree’. Well, I was stubborn, no ed degree for me. (Always the troublemaker.) I had a good composition teacher. Studied 12-tone music, Varese, some electronic music. (Stockhausen) I first smoked pot when the laws of Kansas were 12 years for 2 seeds found in your couch. Boy, that was careless, but it was wonderful. I could see Varese! His music moved beneath my eyelids in colored shapes. I loved dissonance and wild beats.

By the time I got to the University of Iowa, I was going to be a composer. Didn’t even tell people I played clarinet. Worked in the electronic music studio before it was a big deal. Spent hours there, improvising, layering. Analogue only those days, Moog mostly, several 2 track Ampex reel to reels. It was fun, but most of all, amazing! The sounds were fresh, unexplored, and impossible. Met George Crumb, John Cage. There was a new music group in residence by virtue of a Rockefeller grant. We went nuts. Started taking LSD and playing for hours in the group’s practice bunker (one of those old metal, semi-circle huts) till our knuckles bled. Shape sounds, color sounds, texture sounds! The air was full. I was the air.

I’m not recommending LSD, of course. Perhaps under controlled conditions, because it certainly has its down side. (‘Pandora’s Box’ is a real thing, you know.) But I think my generation had to ‘blow’ things open and LSD was an important tool. The world was so uptight around us, even more than it is now. "Real life" opened up. Imagine being in class trying to make up 2 credits in music history; my eyes kept going to the perforated acoustical tiles in the ceiling- you know, the ones with holes in them, and the holes kept descending toward me! I’d hear a perfect 5th in Solfege class and I’d say “wow, that’s incredibly beautiful! It beats in colors, it’s a texture!” Needless, to say, I didn’t make it far in “ear training”, but I graduated with good honors regardless (somehow)!

No jobs out there for ‘professionals’. Can't say I wasn't warned. No different now, really, for most of us. Especially a rebel who can’t keep his mouth shut. (Oh to be young again!) Anyway, any one could see the world order was going to fall apart. It’s based on imaginary ideas. For example, like we could own land. You can’t own land! Land belongs to itself! So I learned auto mechanics, gardening, joined a commune in New England, worked hard, drank and smoked way too much.

Went back to Iowa, made a fine record, “Iowa Ear Music”, with Bill Parsons and friends, got great reviews (5 stars!), co-founded a mixed media group, picked up the clarinet again and ended up at the Creative Music Studio in Woodstock. Karl Berger. Wonderful man. Stayed there two years. Went w/him to Europe for the first time. Incredible! One Sunday all the bells went off in Zurich at once. I swear I could have jumped out the window and swum in the air.

Moved to New York. Formed a trio with George Cartwright and David Moss. Wonderful music, clouds of sounds. Later good times with Hans Burgener and Swiss friends. Dr. Nerve w/ Nick Didkovsky. One loud rock ruckus.

The clarinet is a very special instrument, you know. Stopped pipe, cylindrical bore, sawtooth waves. After college and residence at a couple studios, missing electronic music, I devised extended techniques to make electronic-like sounds on the instrument. Playing and singing at the same time, teeth on the reed, various ways to play chords, etc. Jumbling all the effects together, I don’t really know what I’m doing anymore; I’ve done it so much. Now I mostly watch it play itself. Playing the three Bb's - soprano, bass (now w/the low C extension!), and contra-bass clarinet.

Sounds. (Have I mentioned I’m into sound?) Swirling, clouds and currents of sounds, usually with irregular rhythms, sometimes with pitches, mostly not, though I might break into a song fragment these days. Cage got me to thinking, a lot of us to thinking, that maybe composing was ego driven. I liked the idea of giving it up for improvisation. Course, maybe that is ego driven as well, or can be. What I like is trying to lose myself in the process. Let go of self too, you know. I think it can be done.

New York City, revised June, 2012


Motor Voodoo Rock, created under the influence of beer, cream soda, pot and the frequent exposure to trashy movies. Nerve wrecking rhythm attacks and guitars knee-high. We don't know what we are doing, but we know we are good at it...

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