Midway into the Abyss

3055

Ólafur Arnalds – 3055

April Rain

We Left The Place

Buy Album: https://williamryanfritch.bandcamp.com/album/new-words-for-old-wounds  

Cover Artwork by Sail - http://uselessarm.com

New Words For Old Wounds

Entirety

Buy Album

William Ryan Fritch - Entirety (from New Words For Old Wounds)

Leaving

"..an exquisitely delicate work that unfolds like buds on the trees in spring."
THE INDEPENDENT,UK
Pre-order the LP, CD and Digital: https://aukai.bandcamp.com/album/aukai
itunes: http://snip.ftpromo.net/aukaiitms  spotify: https://goo.gl/613Oq3
Facebook: https://www.facebook.com/aukaimusic 

Recorded and mixed by Martyn Heyne at Lichte Studio Berlin
Mastered by Mandy Parnell at Black Saloon Studios, London
Cover Photo: Dan Isaac Wallin
Written and produced by Markus Sieber

Markus Sieber - ronroco
Alexander Nickmann - fender rhodes, synthesizer, beats

In a lot of ways, Aukai’s self-titled debut is the sound of Markus Sieber bringing his career full circle. Having spent part of the ’90s playing rock music in East Germany, the composer/multi-instrumentalist then shifted his focus to acting, only to have music creep back into his life after a mind-altering move to Mexico.

“This album and project has a lot to do with memories from travel,” explains Sieber, “but also memories from childhood and nature. How did the river smell in summer? I wanted to create a sonic space where music guides the listener into some imaginative inner world.”

Which explains why he came up with the name Aukai in the first place; it’s the Hawaiian word for a seafaring traveler, the sort of person who seeks out the stillness in uncertain waters. In the case of Sieber’s new record, that meant spending a winter holed up in a mountainside cabin around Colorado’s La Plata Canyon. Basic tracks were then cut in a Berlin studio and brought into full relief alongside cellist Anne Muller (Agnes Obel Band, Nils Frahm), violinist Bogdan Djukic, pianist Angelika Baumbach, sound designer Alexander Nickmann, and longtime collaborator Jamshied Sharifi (Laurie Anderson, Sting, Dream Theater).

Here’s what Sieber had to say about its lead single, “Cachoeira,” along with a complete rundown of the record and its cover art:

“Cachoeira”, meaning waterfall in Portuguese, was inspired by my travels to northeastern Brazil, a region rich of rivers and waterfalls. It’s the track on the album which goes farthest into an electronic direction, merging the acoustic and natural sounding layers of the Ronroco, a Latin American string instrument, with Fender Rhodes, synthesizer, and beats. For each piece of the album, I had a particular vision for the instrumentation and musicians I wanted to collaborate with; for “Cachoeira”, I worked with my brother Alexander Nickmann, a Berlin-based sound designer and composer. " 

Buy LP & Digital

Cachoeira

"exquisitely delicate work..." THE INDEPENDENT
Order the LP, CD and Digital: https://aukai.bandcamp.com/album/aukai
Get it on itunes: http://snip.ftpromo.net/aukaiitms  
Follow on Spotify: http://snip.ftpromo.net/aukaispotify
Facebook: https://www.facebook.com/aukaimusic 

Recorded and mixed by Martyn Heyne at Lichte Studio Berlin
Mastered by Mandy Parnell at Black Saloon Studios, London
Written and produced by Markus Sieber

Anne Müller - cello, Angelika Baumbach - harp,  Jamshied Sharifi - synth, Markus Sieber - guitar

Aukai

Wind Runner

Buy Album:
williamryanfritch.bandcamp.com/album/ill-tides

Composer and songwriter William Ryan Fritch has created an enormous and diversely inspired catalog of music in his ten year career; it leaves many to wonder does the man even sleep, and how is this much creativity still pouring out of him. Lost Tribe Sound releases ‘Ill Tides’; Fritch’s 14th full-length album under his own name. The album is available digitally and physically as part of LTS’s new series Dead West, a series of limited cassette tape editions.

For some, the make-up of ‘Ill Tides’ will beg comparison to his 2013 soundtrack for the Oscar nominated film ’The Waiting Room’, or last year’s ‘Music For Film Vol I.’. Such examples do provide good context, but may sell this new material short. Whereas most film music requires delivering concise, mood setting pieces, ‘Ill Tides’ was not created for any particular film. Fritch's aim for each song on ‘Ill Tides' was to be just that, a fully realized song, not bound by the time constraints and half finished narratives of commercial work.

‘Ill Tides’ pours like a smokey, velveted glass of whiskey for the ears. Ten richly textured songs form the bedrock of the album, with Fritch opting for a minimal and purely instrumental sonic palette made up of soaring mournful strings, rolling harp melodies, waterlogged drum lines, and hazy waves of tape distortion. The overtly oceanic theme of ‘Ill Tides’ could either suggest these songs do indeed tell the tale of some journey across the black seas and sun-drenched coastlines, or simply be a reference to the distinct ebb and flow of the album's architecture. As with most of Fritch’s storytelling; one absolute interpretation is never the intended answer.

Rest assured, this is no neo-classical snooze fest. It holds it’s own against any of the best experimental rock albums out there. As for us at Lost Tribe Sound, this is music that we live and die for, set in a timbre that makes our heart beat wildly . ‘Ill Tides’ is a rugged, hand built vessel but make no bones about it, she’s seaworthy.

Ill Tides

At Odds

William Ryan Fritch - At Odds (from ILL TIDES)

Second Portrait

پیکر دوم/ شبانه‌ی لیلی به بازخوانی‌ی قیس
 گیسو به باد پیچیده بانوی قیس

اتود روی هفت‌پیکرِ اردبیلی

به رقص در زنجیر الهی

Second Portrait | پیکر دوم

Herman (Deprivation)

From This Obscure Prison - Sadegh Tasbihi /  از دریچه تاریک - صادق تسبیحی

From the album 'Branches Of Sun' to be released March 9th

Markus Sieber - ronroco
Alexander Nickmann - piano
Anne Müller - cello

written by Markus Sieber & Alexander Nickmann in Les Damias, France
recorded by Markus Sieber & Martyn Heyne
mixed & mastered by Martyn Heyne
produced by Markus Sieber ( Aukai )

Branches Of Sun

Fragmentary Blue

Get LP & CD

Rivar Band - Raha Dar Tehran
گروه ریوار - راه در تهران

Raha dar Tehran

Rivar Band - Raha Dar Tehran | گروه ریوار - رها در تهران

شعر: علیرضا کلیایی
آواز: مهرشاد حاجیلو
آهنگساز: مهیار علیزاده
بدون دکلمه

دو هزار چشم غمگین به دو چشم واله گشته
به جهانِ جان رسیدم، غزلم ترانه گشته

تو روان به خواب شهری، من از این خیال ترسان
مگریز از خیالم، مگریز، رو مگردان

می‌خواهمت بمان! می‌جویمت مرو
سرگشته ام چو باد! می‌خواهمت بمان

به کجا مرا کشانی که نمی‌دهی نشانم؟
به جز این دگر ندانم که تو جانِ این جهانی

اگر از غروب رویت هوسم کند شکایت
و گر این خیال واهی بَرَد از سرم هوایت

دگرم روا نباشد که نظر کنم به سویی
ببرد خیال، من را، ز جنون به جستجویی

می‌خواهمت بمان! می جویمت مرو
سرگشته ام چو باد! می خواهمت بمان

می‌خواهمت

Evening Walk

Faryad (Ft Haleh Seyfizadeh)

میلاد درخشانی و هاله سیفی‌زاده - فریاد

New single of Aukai's  Reminiscence EP. Just previewed by Mary Anne Hobbs on BBC6 Music Recommends. Now available on all digital outlets.

Reminiscence

More Info

La Joya

Latest album by Aukai

Featured on BBC6 Music Recommends
CD of the Month on Echoes Radio January 2019

Order Limited Edition CD:  https://aukai.bandcamp.com/album/reminiscence
Watch the video : https://www.youtube.com/watch?v=0eVlyTRMPu8

07 Paper Boat

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

Nearly ten years ago at the onset of Lost Tribe Sound, an artist emerged whose impact would go on to define our core direction as a label, to release music that leaves its tattered edges proudly in place, acoustic instrumentation blended seamlessly with dirty mechanics, timeworn sound worlds rooted in the muck and mire of the present. While we’ve traversed a wide variety of genres over the years, 2019 will find LTS returning to our origins, a label dedicated to exposing some of most beautifully bizarre beat-driven electro-acoustic music we can get our hands on.

With that said, who better to kick off the year, than Vieo Abiungo. Many know this artist by his proper name William Ryan Fritch, but those who have followed LTS for a while should instantly recognize Fritch’s more obscure moniker.  A name thought to be long since retired, as it’s been over 6 years since Fritch released his last Vieo Abiungo album, ‘Thunder May Have Ruined The Moment.’  March 15th, will see the release of a new full length album ‘The Dregs.’

‘The Dregs’ was conceived over the last couple months to help along our 8 album series currently underway, titled, ‘We Stayed The Path That Fell To Shadow.’ The series hit some typical production lags, combined with a dose of personal tragedy. Fritch and LTS wanted something to offer our loyal subscribers that would bridge the gap until the arrival of his upcoming double album ‘Deceptive Cadence: Music For Film Vol. I & II,’ slated for release in late April 2019. We discussed resurrecting Vieo Abiungo, something we’ve entertained for a while now.  We asked if we could dive into Fritch’s massive archive of music and unearth some our favorite Vieo Abiungo tunes from lost and abandoned albums.  What we discovered were pieces that buzzed with the same raw and texturally unpredictability that first drew LTS to Fritch's music.   

While arranging the album, we focused in on songs that showcased a side of Fritch’s musical personality that has rarely been heard.  The aim was to make the distinction between William Ryan Fritch, the film composer and singer songwriter and his Vieo Abiungo project even clearer. In place of his signature sweeping strings and intricately layered orchestration, the thrum of plucked viola de gamba forms much of the backbone of the music, played in a style akin to a North African oud. In addition, ‘The Dregs’ stands out with its unusual percussion teasing out and tangling together poly-rhythmic lines that make for some of the most intoxicating rhythms we’ve ever heard from Fritch. A large arsenal of horns, marimbas, vintage keyboards, mbiras, and Tuareg-style electric guitars also find their way into the mix.  

‘The Dregs’ draws comparison to Fritch’s 2017 soundtrack for GoPro’s ‘Eagle Hunters in a New World,’  though the music of ‘Eagle Hunters’ focused squarely on experimenting with techniques and sounds of Mongolian Folk music and its incorporation into the landscape of the film. ‘The Dregs’ is allowed to dance more freely, unbound to a specific region, genre, or stylistic concern. The album feels malluable, held in permanent motion by its shapeshifting beats and bombastic melodies. Every track on the album is pure gunpowder, explosive in both mood and delivery, with the exception of a couple somber and timely interludes meant to give pause, recharge and prepare the ears for the next expansive onslaught.  ‘The Dregs' hits upon so many genres yet refuses to be defined by any of them. With any luck, ‘The Dregs’ will persuade Mr. Fritch to pull Vieo Abiungo permanently out of retirement and give us the next evolution in this immersive tale.

The Dregs

Cobble Together

Vieo Abiungo (aka William Ryan Fritch) - Cobble Together (from The Dregs)

Interpretation from Ólafur Arnalds' piece "Film Credits" by Maarten Vos on cello.
www.maartenvos.com
www.instagram.com/maartenvos_
www.olafurarnalds.com
www.instagram.com/olafurarnalds

Maarten Vos, Ólafur Arnalds - Film Credits

This is track 7 from '...and they have escaped the weight of darkness' (2010)

Midway into the Abyss

Ros