YOZY - Imposible

Aired on 22.12.22 with @arianekiks and @arianekiks
Support NTS www.nts.live/supporters

Tracklist:
DJ Screw - Soul II Soul - How Ever Do You Want It
Edgar Morin & Jean Rouch - Extract from Chronique d'un été 
Sophie - Pretending 
Atopos & NBE - ??? x James Massiah - New Poems (Volume One)
James Ferraro - ☺EARTH JUMP
Toshiya Sukegawa - 蟹座
Four Tet v Pole - Heim (Four Tet Remix)
Maryanne Amacher – Synaptic Island
Atopos - ???
Frank Ocean - Come On World, You Can't Go!
Atopos - ???
Joe Hisaishi - Alone
Madonna - Drowned World / Substitute for Love 
naran ratan - Forevertime Journeys
Atopos x lagrima - ??? 
Galaxie 500 - Listen, the Snow Is Falling
munix - ??? 
Dida ― live at Supervue 2022
arianekiksƸ̴Ӂ̴Ʒ - Mimu's Secret
nevrland - swae lee carol edit
City Links - ???
Schola Cantorum Misericordia Christi - Ave Maria
lagrima - ???
Michele Bry - ???
Henry Mancini - Just Like Holly

NTS MIX 221222 - HE4RTBROKEN w/ ATOPOS

VINYL pre-order: with outtakes cassette (non-album tracks exclusive to this tape) and immediate digital download of the album. Ships before release date.
http://www.stonesthrow.com/store/album/dntel/human-voice

Human Voice is out World Wide Sept 23rd on Leaving Records

Dntel - Ashby

An hour of music from one-of-a-kind singer songwriter Judee Sill. Selected by Flo Dill.  
https://www.nts.live/shows/in-focus/episodes/in-focus-judee-sill-16th-february-2024

In Focus: Judee Sill  160224

Miu Miu FW24 Soundtrack

Romance Relic (Jussi Hertz) is a Helsinki-based multi-disciplinary artist, sound designer and composer. Hertz’s work takes influences from experimental electronic music, modern classical music and ambient genre tropes. Their pieces of music have been previously released via labels such as Janushoved, DISPLAY and Eastern Nurseries. Within their musical practice, Hertz works with various mediums, ranging from field recordings and re-appropriated and sampled sound excerpts to synthesized melodic passages and vocal verses. Within and throughout their work, Hertz explores the intersections of emotional temporality and musical tropes’ relation to sensibility and pop-inclined romanticism. In their practice Hertz tries to stretch the boundaries of fragmentary storytelling, and its narrative capabilities and dispositions.
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links:

Instagram – https://www.instagram.com/romance.relic/
soundcloud – https://soundcloud.com/romancerelic

092 – Romance Relic

Through the Crystal Window

Avocet

32-33 The Leap of Faith

New life

Somewhere between private night walks and the depths of the club.. some place between being and longing.

''When you enter the world you come to live on the threshold between the visible and the invisible. This tension infuses your life with longing. You belong fully to neither the visible nor the invisible. This is precisely what kindles and rekindles all your longing and your hunger to belong. You are both artist and pilgrim of the threshold.''

SUMMER 2019 ~ evaporating tensions mix. ddr 01.08.19

Buy / stream: https://smarturl.it/iidrwi

Inspired by Erik Hall’s recent update of the Steve Reich’s Music for 18 Musicians, we’ve invited other artists in our extended label family to cover the classical compositions that inform their respective musical journeys, culminating in a series entitled Composure: Classical Reworks for Modern Relief.  Aimed at providing mental and spiritual respite in our uncertain era, the series is appropriately commenced by Joseph Shabason’s take on Erik Satie’s “Gymnopedie No. 1.”

"When Satie premiered this piece for the first time, he gathered all of Paris' music critics and musicians into a theater, and had a big cocktail party with a piano player playing background music.”  Shabason explains, “Off to the side there was a concert space with a stage, piano, and chairs. After the party everyone filed into the concert space and found their seats. Satie got on stage and told everyone that the background music they just heard over drinks was his new material, ‘thank you and have a good night.’"  Motivated by this story of an innovator breaking format, Shabason's version of the piece intends to capture the opium infused feeling of Paris in the late 1800s, at a cocktail party where voices and conversations drift in and out, ignoring the music that would later prove immortal, let alone spur an entirely new way of listening and composing music in the century to come.  Shabason elaborates, invoking the ego dilemma of all working musicians, "I wanted to capture the loneliness of playing something that's musically meaningful while people just talk over what you're doing and what you've created. It's something that every gigging musician has experienced, and it's fucking awful...but there is also a kind of warm loneliness to it. You know that no one cares about your music, and in that knowledge you are left with the feeling of doing something just for yourself…which further solidifies your resolve and investment in what you’re doing."  

Collaborating with string player Drew Jurecka, Shabason uses woozy tape-manipulated sax, piano, and string swells to create an enveloping world that's both forward-facing, and faithful to its source material. Shabason warps the piece into a mildly hallucinatory depiction of isolation in a crowded space, with hazy synth melodies that urge us to pay the tab and head home, though not-so-deep-down we know there’s not a cozier space on Earth than our table for one. In this period of social distancing it invokes a paradoxical, yet relatable, sentiment: a longing for the day when the crowds reassemble, so we can find our own fond loneliness amidst them once again.

Miu Miu FW24 Soundtrack

Cassius

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