meditation

Lend Me Your Radio - Sept 16

Electronic RockPop5

Forthcoming release on Dragon's Eye Recordings - September 23, 2016
http://www.dragonseyerecordings.com/catalogue/de6016.html

ambivalence

III is taken from the new album "Dérive" by Dimitar Dodovski. Released by  Shimmering Moods Records on 7.9.2016

Handmade, hand numbered CDr's, limited to 50 copies. 
Four different colors: White, ecru, grey and lighter grey. 
Photo's
Wallets 240g paper, outside cover envelope 120g paper, transparent bag. 

Pre order: https://shimmeringmoodsrecords.bandcamp.com/album/d-rive

"Dérive" inhabits the beginnings of a new world. An inverted world, where fledgeling organic forms sprout from digital nuclei. Through rhythmical catenation, its primordial origins grow into sophisticated polymers of granular sound. The intricate background textures, like the distant field recordings of nature emerging from its binary source, uncover Derive's uncanny resolution -- a warm, pixelated atmosphere still coming into focus. Meditative mallet chimes, melodic synthesis and choral pads offer signs of the architect, Dimitar Dodovski, as he knowingly tweaks each parameter of creation; testing each derivation with every track. 
Peter Burton aka TimeDog August 2016

All tracks by Dimitar Dodovski 
Paintings by Genoveva 
Mastered by Early Reflections

Track list:
1. I 
2. II 
3. III 
4. IV (SOUL) 
5. V 
6. VI 
7. SILENT MOON 

Dérive

Dimitar Dodovski - III (taken from the album "Dérive" release date: 7.9.2016)

Porya Hatami

Porya Hatami (b.1981) is an experimental sound artist based in Sanandaj, Iran. Working in the field of ambient/minimal, his compositions explore the balance between electronics and environmental sounds, utilizing processed acoustic and electronic sources and field recordings. His Debut album released on UK based Somehow Recordings in January 2012 and since then he has worked with numerous high quality record labels.

Phonē to Logos 

I was invited by Audiobulb to look back and select music including unreleased tracks that illustrated my evolution as an artist. Phone to Logos retraces my creative process to date. Each track illustrates distinct sound palettes and aesthetics at play during different periods of writing. It has been a reflective process, assembling my journey through sound, steeped in memory, emotion and learning. 

The first two tracks were written around the time of my first album's period; Dawn with Tomotsugu is an unused track from our ongoing collaboration; ‘81 are from "Arrivals and Departures".

Phonē to Logos

Quiet Evenings - Hearth (excerpt)

Dreamsheep DS015
Digital Download

Originally released on tape in ultra-limited quantities (35 copies never really distributed in 2006 on a cassette called "Christmas Ragas"), the 26-minute long track "Winds & Strings From The Golden Crescent" is an audio journey lost into the sands of time and the lushous magic of the Middle-Eastern/Indian traditional music. Listening to this track is like having in your room Kadri Gopalnath's sax filtered through a boombox playing some slowed-down tapes of Ali Akbar Khan's early masterpieces, all covered into a thick fog of delays and lo-fi muddiness. Definitely recommended for fans of Canary Records, Nath Family and meditative/new age sounds with their gazes turned towards the East. Carefully remastered by Valerio Cosi himself from the original audio sources and digitally re-released on Dreamsheep.

released September 22, 2016

All instruments and music by Valerio Cosi*
*(except from some short samples of Indian music - sources unknown) 

 Winds & Strings From The Golden Crescent 

Inspelad 2017 på Skithålans Fritidsgård

Papier Maché

Written by Nation of Language
Produced by Abe Seiferth
Mastered by Heba Kadry

On Division St

PYRAMIDS (CHIARANO - TV)

Nascono come Skazz nell’inverno del ’79 con l’intento di fare punk. Dopo vari avvicendamenti e cambi di ruolo, si costituisce la formazione definitiva, che cambia il nome in Pyramids. In seguito vengono introdotti synth polifonici e sequencer che danno alla band un taglio più elettronico, mentre la cura del sound e degli aspetti tecnici dei live viene affidata all’amico Mario. Numerose le collaborazioni con musicisti dell’area veneta e nazionale, come molti i concerti e i brani incisi, due dei quali per le compilation “St. Anthony’s Fire” (Grillo Rekords, 1983) e “Rockgarage Compilation Vol.4” (MASO, 1984). Nel 1986 lo scioglimento, Ivano continua come solista, mentre gli altri proseguono fino al 2000 come Pyramids, con due nuovi elementi e con testi in italiano.

Marco Boraso: chitarra | Paolo Lazzarotto: batteria | Daniele Parro: basso
Ivano Vidali: tastiere, voce

https://www.facebook.com/391Veneto/

https://www.facebook.com/391Veneto/photos/a.167198374225053/167189584225932/?type=1&theater

http://beta.goodfellas.it/spittle_records/releases/8033706211557-391-vol-6-veneto-voyage-through-the-deep-80s-underground.html

PYRAMIDS  (CHIARANO - TV) '' A Way Out '' 1980 ITALY

New song "Ghost" available on LP through Communion - 10/2016. Follow me here, I hope you'll enjoy.





"Cosi is truly a first rate player and composer whose work effortlessly oscillates from traditional, swinging jazz melodies to soul purging Ayler-esque dirges." (Alex Cobb - Students Of Decay label owner/musician) 

"Cosi could turn out to be one of the real discoveries of 2006." (John Cavanagh, writer/musician/Pink Floyd biographer) 

"I couldn't recommend highly enough Italian wunderkind multi-instrumentalist Valerio Cosi's "Immortal Attitudes" (CDR); his sun-drenched sax-drone-ragas will make you wish it was 1969 and you were on acid and hanging with Terry Riley at an Alice Coltrane gig - or vice versa." (Stephen Clover, Foxy Digitalis writer/musician)

"The best stuff is a little smoother than that, melting bits of semi-modality into flattened stretches of drone. But even those spots have this weird kind of incongruity, an odd sense that these things just shouldn't be put together, that I really dig. Maybe it's not so much shouldn't as usually aren't, which is kinda refreshing - even my fave recs of late don't offer anything so intriguingly off..." (Marc Masters, Pitchfork / Noiseweek)